Podcasts about natalie barney

Lecture par l'autrice, Anne F. Garréta, Margot Gallimard, Estelle Meyer, Suzette Robichon & Céline Sciamma Après Sappho nous entraîne au moyen d'une prodigieuse narration chorale à la rencontre du destin d'écrivaines, de peintres et d'artistes qui ont bravé l'oppression, et nous guide à travers les débuts trépidants du XXᵉ siècle aux côtés de figures incontournables : Natalie Barney, Renée Vivien, Romaine Brooks, Gertrude Stein, Virginia Woolf, Sarah Bernhardt, Isadora Duncan, Lina Poletti, Eleonora Duse, Colette … Biographie, roman, portrait, manifeste, récit expérimental, ce livre est aussi une méditation lumineuse sur l'héritage des pionnières de notre passé. Ode à la liberté, il est fait de lutte et de joie. À lire – Selby Wynn Schwartz, Après Sappho, trad. de l'anglais (États-Unis) par Hélène Cohen, préfaces d'Anne F. Garréta et Estelle Meyer, Gallimard, coll. « Hors-Série L'Imaginaire », 2024.

Camille Saint-Saëns, hoewel getrouwd, maakt in Parijs geen geheim van zijn affaires. Marcel Proust beleeft een romance en is steeds opener in zijn werk. Le Temple de l'Amitié van Natalie Barney wordt een hotspot voor lesbische vrouwen in Parijs. De eerste queerkus spat van het witte doek. Suzy Solidor wordt de meest geportretteerde vrouw ter wereld terwijl ze openlijk zingt over lesbische liefde, in het cabaret van de subcultuur. En Cole Porter laat de teugels vieren, met Les Ballets Russes.

Part two of Natalie Clifford Barney week covers her life as a wealthy adult. She moved to France permanently, and established the salon which ran for 50 years and has become one of her most well-known efforts. Research: Barney, Natalie Clifford. “POEMS & POÈMES: autres alliances.” Paris and New York. 1920. https://www.gutenberg.org/files/49942/49942-h/49942-h.htm Conliffe, Ciaran. “Natalie Clifford Barney, Queen Of The Paris Lesbians.” HeadStuff. 9/25/2017. https://headstuff.org/culture/history/natalie-clifford-barney-queen-of-the-paris-lesbians/ Craddock, James. “Barney, Natalie.” Encyclopedia of World Biography (Vol. 33. 2nd ed.). 2013. Engelking, Tama Lea. “The Literary Friendships of Natalie Clifford Barney: The Case of Lucie Delarue-Mardrus.” Women in French Studies, Volume 7, 1999, pp. 100-116. https://doi.org/10.1353/wfs.1999.0007 “Natalie Clifford Barney.” Encyclopedia of World Biography Online. 2023. Goodman, Lanie. “Wealthy, Scandalous and Powerful.” France Today. February/March 2020. O'Neil, Shannon Leigh. “A Steamy Novel From ‘the Amazon.'” The Gay & Lesbian Review. March-April 2017. Rapazzini, Francesco. “Elisabeth de Gramont, Natalie Barney's ‘Eternal Mate.'” South Central Review , Fall, 2005, Vol. 22, No. 3, Natalie Barney and Her Circle (Fall, 2005). https://www.jstor.org/stable/40039992 Ray, Chelsea. “Natalie Barney (1876-1972): Writer, salon hostess, and eternal friend. Interview with Jean Chalon.” Women in French Studies, Volume 30, 2022, pp. 154-169. https://doi.org/10.1353/wfs.2022.0012 Robertson, Kieran. “Amazon, Empress, and Friend: The Life of Natalie Clifford Barney.” Ohio History Connection. https://www.ohiohistory.org/amazon-empress-and-friend-the-life-of-natalie-clifford-barney/ Rodriguez, Suzanne. “Wild Heart: Natalie Clifford Barney and the Decadence of Literary Paris.” Harper Collins. 2003. Washington Post. “This Was Love Indeed!” 5/7/1911. https://www.newspapers.com/image/19409771/ Wickes, George. “A Natalie Barney Garland.” The Paris Review. Issue 61, Spring 1975. https://www.theparisreview.org/letters-essays/3870/a-natalie-barney-garland-george-wickes See omnystudio.com/listener for privacy information.

Natalie Clifford Barney was an incredibly privileged woman who hobnobbed with many notable intellectual and artistic figures in history. Part one covers her upbringing, her young adult life in Paris, and her massive inheritance. Research: Barney, Natalie Clifford. “POEMS & POÈMES: autres alliances.” Paris and New York. 1920. https://www.gutenberg.org/files/49942/49942-h/49942-h.htm Conliffe, Ciaran. “Natalie Clifford Barney, Queen Of The Paris Lesbians.” HeadStuff. 9/25/2017. https://headstuff.org/culture/history/natalie-clifford-barney-queen-of-the-paris-lesbians/ Craddock, James. “Barney, Natalie.” Encyclopedia of World Biography (Vol. 33. 2nd ed.). 2013. Engelking, Tama Lea. “The Literary Friendships of Natalie Clifford Barney: The Case of Lucie Delarue-Mardrus.” Women in French Studies, Volume 7, 1999, pp. 100-116. https://doi.org/10.1353/wfs.1999.0007 “Natalie Clifford Barney.” Encyclopedia of World Biography Online. 2023. Goodman, Lanie. “Wealthy, Scandalous and Powerful.” France Today. February/March 2020. O'Neil, Shannon Leigh. “A Steamy Novel From ‘the Amazon.'” The Gay & Lesbian Review. March-April 2017. Rapazzini, Francesco. “Elisabeth de Gramont, Natalie Barney's ‘Eternal Mate.'” South Central Review , Fall, 2005, Vol. 22, No. 3, Natalie Barney and Her Circle (Fall, 2005). https://www.jstor.org/stable/40039992 Ray, Chelsea. “Natalie Barney (1876-1972): Writer, salon hostess, and eternal friend. Interview with Jean Chalon.” Women in French Studies, Volume 30, 2022, pp. 154-169. https://doi.org/10.1353/wfs.2022.0012 Robertson, Kieran. “Amazon, Empress, and Friend: The Life of Natalie Clifford Barney.” Ohio History Connection. https://www.ohiohistory.org/amazon-empress-and-friend-the-life-of-natalie-clifford-barney/ Rodriguez, Suzanne. “Wild Heart: Natalie Clifford Barney and the Decadence of Literary Paris.” Harper Collins. 2003. Washington Post. “This Was Love Indeed!” 5/7/1911. https://www.newspapers.com/image/19409771/ Wickes, George. “A Natalie Barney Garland.” The Paris Review. Issue 61, Spring 1975. https://www.theparisreview.org/letters-essays/3870/a-natalie-barney-garland-george-wickes See omnystudio.com/listener for privacy information.

We have once again come to the end of another Dykalicious season. To finish on a high note, listen to the second part of episode 6, where Casey, Lea and Maria talk some more about the fabulous historical lesbians mentioned in Diana Souhami's book No Modernism without Lesbians. Today, Casey will be presenting the super sexy Nathalie Barney, Maria will be telling you everything about Gertrude Stein, poet and art collector extraordinaire, and we'll be thinking about the importance of lesbian history. And, in case you fancied the bookish hot queer at your local bookshop, make sure to listen until the end of the episode for Lea's romantic, literary pick-up line. Outline00:00 – 01:49 – Intro01:50 – 17:17 – Casey presents Natalie Barney17:18 – 23:32 – Natalie Barney's legacy23:33 – 48:46 – Maria presents Gertrude Stein48:47 – 51:37 – Gertrude Stein's legacy and the importance of lesbian history51:38 – 55:19 – Outro, goodbyes and Lea's pick-up lineResourcesNo Modernism without Lesbians on GoodreadsDiana SouhamiCreditsCo-hosts: Casey, LeaSpecial Guest: MariaProducer: MariaSong: ‘Free the Nip' by MuMuFind us on Instagram | Send us an email at dykalicious.podcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Books and lesbians are always a great combination, but what about a book about lesbians writing books? In this episode, Lea and Casey are joined by Maria to have a chat about Diana Souhami's No Modernism Without Lesbians. Because we don't want you to miss any tea about these amazing historical queer figures, we have split the book discussion in two parts: this week you'll be hearing about Sylvia Beach and Bryher, and next week about Natalie Barney and Gertrude Stein. If you're into bookish lesbians and queer sugar daddies, this episode is definitely for you!Outline00:00 – 06:48 – Intro and gay day check-in06:49 – 14:44 – Today's topic: introducing Diana Souhami's No Modernism Without Lesbians and the modernism movement14:45 – 16:06 – Sylvia Beach16:07 – 39:50 – Bryher39:51 – 42:09 – Outro and Lea's pick-up lineResourcesNo Modernism without Lesbians on GoodreadsDiana SouhamiCreditsCo-hosts: Casey, LeaSpecial Guest: MariaProducer: MariaSong: ‘Free the Nip' by MuMuFind us on Instagram | Send us an email at dykalicious.podcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

In this episode, translator Laura Radosh introduces us to the fascinating and troubled writer Djuna Barnes.  The journalist, novelist, and artist mixed with everyone from James Joyce to Peggy Guggenheim, and was at the center of Bohemian life in 1920s New York and Paris, though perhaps not quite as much as she would like. Best known (if at all) for her modernist novel “Nightwood,” Djuna once called herself  ''the most famous unknown in the world.''  DLS co-founder Florian Duijsens joins producer/host Susan Stone to muse about Djuna and her circle of modernist Dead Ladies.  Find out more about Djuna and her work, and see her polka-dot portrait here: https://deadladiesshow.com/2023/05/11/podcast-63-djuna-barnes Djuna Barnes intersects with a great number of our previously presented Dead Ladies, including: photographer Berenice Abbott (who took the above mentioned portrait): https://deadladiesshow.com/2023/01/20/podcast-59-berenice-abbott/ and  dadaist Elsa von Freytag Loringhoven: https://deadladiesshow.com/2021/10/16/podcast-47-elsa-von-freytag-loringhoven/ Here's the documentary Laura cited where you can see Natalie Barney's Parisian home and garden with its Temple of Friendship: https://youtu.be/ihzoLrUkNoc The documentary we mentioned is “Paris Was a Woman” by Greta Schiller  https://jezebelproductions.org/paris-was-a-woman/ And Will Self's radio segment on “Nightwood” can be found here: https://youtu.be/5cy3-uOTTfE Our theme music is “Little Lily Swing” by Tri-Tachyon. Want to suggest a Dead Lady for us?  Drop us a line to info@deadladiesshow.com or tell us on social media @deadladiesshow If you'd like to get advance tickets for our May show in Berlin they are here: https://www.eventbrite.com/e/dead-ladies-show-34-tickets-632679640837 DLS NYC tickets can be purchased here:  https://www.eventbrite.com/e/dead-ladies-show-nyc-no-23-tickets-628717840987 Thanks for listening! We'll be back with a new episode next month. **** The Dead Ladies Show is a series of entertaining and inspiring talks about women who achieved amazing things against all odds, presented live in Berlin and beyond. This podcast is based on that series. Because women's history is everyone's history. The Dead Ladies Show was founded by Florian Duijsens and Katy Derbyshire. The podcast is created, produced, edited, and presented by Susan Stone. Don't forget, we have a Patreon! Thanks to all of our current supporters! Please consider supporting our transcripts project and our ongoing work: www.patreon.com/deadladiesshowpodcast

Banbrytande bröt Natalie Barney mot sin fars förväntningar, och levde ut sitt lesbiska och litterära liv. Från den amerikanska mellanvästern, drog hon till Paris och startade stadens hetaste salong. Jag skapade inte en salong, en salong skapades runt mig. Det har författaren Natalie Barney sagt. Men sanningen är att hon nästan varje fredag i över 60 år öppnade upp sitt hem på Rue Jacob nummer 20 i Paris, för möten mellan vitt skilda människor. För med sin salong ville hon slå en brygga över länder, språk, sexuell läggning och generationer. Nästan alla var välkomna till Natalie Barneys salong. Allt som krävdes var lite vett och etikett, sen spelade det ingen roll vem du var, vad du tyckte eller vem du låg med. Denna demokratiska mix av människor var i början av 1900-talet mycket ovanlig.Hennes smeknamn blev 'lAmazone', Amazonen, eftersom hon älskade att rida och såg ståtligt atletisk ut i sin ridmundering. Natalie Barney älskade också att presentera folk för varandra, och sniffade hon till sig en litterär talang så gjorde hon sitt yttersta för hitta ett förlag, en översättare eller för den delen en mecenat åt vederbörande. För författare som inte var födda med pengar, var vid den här tiden just en mecenat essentiell. Men idag är det annorlunda, vi träffar författaren Donia Saleh och pratar om de samtida sätten att ha råd att ägna sig åt ett författarskap. Och om dagens litterära rum.Redan som barn visste Natalie Barney att hon var lesbisk. Född 1876, i en välbärgad familj i amerikanska Dayton, Ohio, var det dock långt från en självklarhet att hon skulle få leva det liv hon ville. Men Natalie Barney vägrade vika sig för tidens normer. Som 24-åring publicerade hon dikter inspirerade av Sapfo, något som gjorde hennes pappa rasande. Han köpte upp så många böcker han kunde, och brände dem. Men ett par år senare avled han och efterlämnade en förmögenhet som möjliggjorde hennes drömmar att flytta till Paris och leva som hon ville. Att öppet leva ut sin sexualitet var långt ifrån något alla lesbiska kvinnor vid tiden kunde göra. Men ett sätt att ändå subtilt kommunicera sin läggning, var att klä sig i vissa plagg och attribut. Tex en klackring på lillfingret var under 1920-talet en lesbisk kod, berättar kostymören, stylisten och konstnären Hanna Kisch, som vi diskuterar den lesbiska stilen med.Natalie Barney avled 96 år gammal, 1972, för 50 år sen. Under en period föll hennes värv något i glömska. Men på senare år har hon återigen börjat uppmärksammas, och hennes minne är också förevigat i den moderna konsthistorien. Hon är nämligen en av de 39 inflytelserika kvinnor som har tilldelats en plats i konstnären Judy Chicagos ikoniska installation The Dinner Party som visades första gången 1979. The Dinner Party anses idag vara ett banbrytande feministiskt konstverk och finns idag på The Brooklyn Museum i New York. En av dem som har varit där och tittat är konstvetaren Linda Fagerström, som vi ringer upp.Veckans gäst är Katarina Bonnevier, arkitekt, konstnär och forskare.

How do pitch forks, a bunch of woman during apple harvest, and a LP vinyl cover make history? And what's it like to travel the world in the name of music and feminism?Meet Liza Cowan, an artist, former radio host, producer, magazine editor, and lesbian activist from New York City who lives to tell the tale. She happens to be the confidant and former partner of the late singer Alix Dobkin, who is also featured heavily in this episode. Listen in if you'd like to hear more about Liza's life, her roots in the lesbian feminist scene of the 1970s; what it was like to interview Yoko Ono for her radio show, and how it felt to fall in love 'on air'. Things mentioned in this Episode:Liza's Yoko Ono Interview; Alix Dobkin Obituary (Guardian); Gay Head Cliffs;  Labyris Books NYC; Natalie Barney; Liza's WebsiteSend Jess a tip via her virtual TipJar to support the podcast :https://tpjr.us/alesbianaffairpodcast

Var Selma Lagerlöf lesbisk? Eller vore en sådan etikett att tvinga på historien vår tids definitioner och begrepp? Anna Blennow reflekterar över kärlekens namn utifrån några gamla fotografier. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Två kvinnor ser in i kameran. Den ena, mörka, sitter upprätt i en höghalsad svart klänning. Mot henne, tätt intill, lutar sig den andra, ljushåriga. Hon har en penna i sin uppsträckta hand, nästan som ett vapen. På ett annat fotografi ser vi dem igen. Nu sitter de sida vid sida i varsin stol, inte lika nära. Den mörka håller i en bok. Under de uppslagna pärmarna, nästan skymda, skymtar kvinnornas händer som närmar sig varandra, rör vid varandra. Den ljushåriga kvinnan är Selma Lagerlöf. Den mörka är Sophie Elkan, hon som kallats Lagerlöfs reskamrat och väninna. Men när deras brevväxling offentliggjordes 1990, 50 år efter Lagerlöfs död, visade det sig att deras relation gått betydligt djupare. Nu ser vi ytterligare ett fotografi. En halvnaken kvinna med en lilja i handen sitter på en hög tron i klassicerande stil. Eller är det en kvinna? Hennes nedböjda ansikte påminner om antika avbildningar av androgyna gudar som Dionysos och Apollon. Framför henne knäböjer en annan kvinna, endast iklädd ett par snörda sandaler i grekisk stil. Kvinnorna på bilden är den amerikanska författaren Natalie Barney och hennes älskarinna Eva Palmer. Såväl den explicita scenen som vårt källmaterial tydliggör att de var mer än bara väninnor. Natalie Barney levde öppet som lesbisk i Paris, där hon höll litterära salonger, och Palmer var en i raden av hennes många kärlekar. Fotografierna av de båda paren är tagna runt sekelskiftet 1900. De har många gemensamma beröringspunkter, samtidigt som deras uttryck är väsensskilda från varandra. Hur gestaltades relationer mellan kvinnor vid den här tiden, och varför? Att Selma Lagerlöf levde i flera nära förhållanden med kvinnor har varit välkänt. Genom sin yrkesutbildning till lärarinna mötte hon kvinnor som av olika skäl flytt förväntan om make och äktenskap. Under den tio år långa anställningen vid flickläroverket i Landskrona i slutet av 1800-talet svärmade Selma såväl för kolleger som för kvinnor i Köpenhamns kulturkretsar. Senare blev Sophie Elkan och därpå Valborg Olander hennes långvariga livskamrater. Men när hennes brevväxling med Elkan och Olander publicerades för några decennier sedan fick dess innehåll ett blandat mottagande. Fanns det verkligen tillräckligt med bevis i breven för att Lagerlöf var lesbisk? En recensent menade att man inte borde göra Lagerlöf till något slags pionjär för modernt enkönade förhållanden, utan istället fokusera på hennes verk. Och i sin biografi över Lagerlöf är Anna-Karin Palm genomgående tveksam till att definiera Lagerlöfs sexualitet. Ja, hur ska man benämna de kärleksrelationer mellan kvinnor som vi kan spåra historiskt, och vad får det för följder? Vad kallade kvinnorna själva sina relationer, i en tid då homosexualitet inte myntats som vedertagen term? Den sista frågan behandlas i antologin Den kvinnliga tvåsamhetens frirum, där litteraturvetare, historiker och genusvetare skildrar kvinnopar i det tidiga 1900-talet, bland annat just Lagerlöf och Elkan. Dokumenterade relationer mellan kvinnor vid den här tiden stod i nära samband med den framväxande kvinnorörelsen, och valet att leva tillsammans med en annan kvinna tolkas därför ibland i ljuset av politik och ideologi. Det framhävs också ofta att brevkulturen under perioden präglas av ett sensuellt språk, där smekningar och kyssar kunde sändas fram och åter mellan kvinnor utan att detta nödvändigtvis behöver tolkas som speglingar av en erotisk situation. Men detta, precis som tidens syn på kvinnlig sexualitet som obetydlig, passiv och ofarlig, kunde å andra sidan skapa frirum där begär mellan kvinnor kunde passera oförmärkt under radarn. Det poängteras av flera författare i antologin att en tid som ännu saknade fasta sexologiska etiketter kan ha möjliggjort en mera fri och flytande skala mellan vänskap och sexualitet. En bildad bakgrund var också något som var gemensamt för många av kvinnoparen, såväl Lagerlöf och Elkan som Eva Palmer och Natalie Barney. Palmer hade läst latin och grekiska vid Bryn Mawr, det första amerikanska högre lärosätet för kvinnor. Lagerlöf studerade vid Högre lärarinneseminariet i Stockholm, den första akademiska utbildningen för kvinnor i Sverige. Men medan Palmer och Barney arrangerade uppläsningar och föreställningar kring Sapfos dikter, raderades alla anspelningar på lesbisk kärlek i svenska tolkningar av Sapfo, och pronomen byttes till och med från feminint till maskulint i översättningar. Lagerlöfs tidiga litterära förebilder är svenska och manliga, som Bellman och Runeberg. Därför är det inte oväntat att de ord som kvinnor som Elkan och Lagerlöf använder för att beskriva sina relationer inte är hämtade från den antika världen. Istället talas det i hemlighetsfulla antydningar om magnetism, trollmakt och livsmakt. Vid samma tid skriver Eva Palmer i ett kärleksbrev hur hon föreställer sig Natalie Barney dansa naken med hennes egen kropp som dansgolv. Och Barneys diktsamlingar dominerades av kärlekslyrik uttalat riktad till kvinnor, med Sapfo som ständig ledstjärna. Det finns också ett högst reellt skäl till att vi finner en så stor skillnad i öppenhet kring hur kvinnornas kärlek gestaltas. I Frankrike, där Barney och Palmer levde, var homosexualitet inte olagligt enligt lagsamlingen Code Napoléon från 1804 (som också medgav religionsfrihet och allas likhet inför lagen). I Sverige var homosexuella handlingar förbjudna i lag ända till 1944, mellan såväl män som kvinnor. När Lagerlöf skriver till Elkan att de borde bränna sina brev  Det är farligt för oss, som det nu är var det troligen inte bara omgivningens reaktioner hon syftade på, utan också ett påtagligt hot om juridisk straffbarhet. Och öppenhet kan också vara en klassfråga. Natalie Barney kom från en förmögen familj och var ekonomiskt oberoende: hon behövde inte bry sig om eventuell skandalisering. Selma Lagerlöf var tvungen att försörja sig själv, först som lärarinna och sedan som författare, på grund av familjens sviktande finanser. En månskensnatt i Landskrona. Selma Lagerlöf vandrar längs Strandpromenaden med Anna Oom, en av hennes tidiga romantiska förbindelser. Senare skriver Anna till Selma och påminner om hur de stod där tillsammans på udden, och hur hon sedan sökt sig tillbaka dit ensam och plockat en stor bukett blommor. Vi kan aldrig säkert få veta hur mycket fysiskt begär som dolde sig i deras svärmeri. Men om vi inte tar möjligheten i beaktande, kommer vi inte heller att kunna reflektera över den brännande frågan: hur var det att vara lesbisk i Landskrona runt år 1900? Att det då ännu inte fanns någon konkret term för fysiska relationer mellan kvinnor betyder inte att något sådant begär inte existerade. Om vi fortsätter att beskriva sekelskifteskvinnornas kärleksförhållanden som vänskap med inslag av romantik riskerar vi att reprisera en förmodern föreställning om kvinnans svaga och outtalade sexualitet. Då förblir den, som Eva Borgström och Hanna Markusson Winquist skriver i antologin, kärleken som inte vågar säga sitt namn the love that dare not speak its name. Anna Blennow Litteratur: Eva Borgström & Hanna Markusson Winquist (red.), Den kvinnliga tvåsamhetens frirum. Kvinnopar i kvinnorörelsen 18901950, Appell förlag 2018. Ying Toijer-Nilsson, Du lär mig att bli fri. Selma Lagerlöf skriver till Sophie Elkan, Bonniers 1992. Ying Toijer-Nilsson, En riktig författarhustru. Selma Lagerlöf skriver till Valborg Olander, Bonniers 2006. Anna-Karin Palm, Jag vill sätta världen i rörelse. En biografi över Selma Lagerlöf, Bonniers 2019. Artemis Leontis, Eva Palmer Sikelianos. A Life in Ruins, Princeton University Press 2019. Ingrid Svensson, Ett magiskt rum. Salonger i 1920-talets Paris, Ellerströms 2017. Sigrid Schottenius Cullhed, När Sapfo kom ut, Klassisk filologi i Sverige: reflexioner, riktningar, översättningar, öden, red. Eric Cullhed och Bo Lindberg, Kungl. Vitterhetsakademien 2015.

Diana Souhami talks about her new book No Modernism Without Lesbians, out 2020 with Head of Zeus books. A Sunday Times Book of the Year 2020. This is the extraordinary story of how a singular group of women in a pivotal time and place – Paris, between the wars – fostered the birth of the Modernist movement. Sylvia Beach, Bryher, Natalie Barney, and Gertrude Stein. A trailblazing publisher; a patron of artists; a society hostess; a groundbreaking writer. They were all women who loved women. They rejected the patriarchy and made lives of their own – forming a community around them in Paris. Each of these four central women interacted with a myriad of others, some of the most influential, most entertaining, most shocking and most brilliant figures of the age. Diana Souhami weaves together their stories to create a vivid moving tapestry of life among the Modernists in pre-war Paris. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices

Diana Souhami talks about her new book No Modernism Without Lesbians, out 2020 with Head of Zeus books. A Sunday Times Book of the Year 2020. This is the extraordinary story of how a singular group of women in a pivotal time and place – Paris, between the wars – fostered the birth of the Modernist movement. Sylvia Beach, Bryher, Natalie Barney, and Gertrude Stein. A trailblazing publisher; a patron of artists; a society hostess; a groundbreaking writer. They were all women who loved women. They rejected the patriarchy and made lives of their own – forming a community around them in Paris. Each of these four central women interacted with a myriad of others, some of the most influential, most entertaining, most shocking and most brilliant figures of the age. Diana Souhami weaves together their stories to create a vivid moving tapestry of life among the Modernists in pre-war Paris. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Diana Souhami talks about her new book No Modernism Without Lesbians, out 2020 with Head of Zeus books. A Sunday Times Book of the Year 2020. This is the extraordinary story of how a singular group of women in a pivotal time and place – Paris, between the wars – fostered the birth of the Modernist movement. Sylvia Beach, Bryher, Natalie Barney, and Gertrude Stein. A trailblazing publisher; a patron of artists; a society hostess; a groundbreaking writer. They were all women who loved women. They rejected the patriarchy and made lives of their own – forming a community around them in Paris. Each of these four central women interacted with a myriad of others, some of the most influential, most entertaining, most shocking and most brilliant figures of the age. Diana Souhami weaves together their stories to create a vivid moving tapestry of life among the Modernists in pre-war Paris. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Diana Souhami talks about her new book No Modernism Without Lesbians, out 2020 with Head of Zeus books. A Sunday Times Book of the Year 2020. This is the extraordinary story of how a singular group of women in a pivotal time and place – Paris, between the wars – fostered the birth of the Modernist movement. Sylvia Beach, Bryher, Natalie Barney, and Gertrude Stein. A trailblazing publisher; a patron of artists; a society hostess; a groundbreaking writer. They were all women who loved women. They rejected the patriarchy and made lives of their own – forming a community around them in Paris. Each of these four central women interacted with a myriad of others, some of the most influential, most entertaining, most shocking and most brilliant figures of the age. Diana Souhami weaves together their stories to create a vivid moving tapestry of life among the Modernists in pre-war Paris. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Diana Souhami talks about her new book No Modernism Without Lesbians, out 2020 with Head of Zeus books. A Sunday Times Book of the Year 2020. This is the extraordinary story of how a singular group of women in a pivotal time and place – Paris, between the wars – fostered the birth of the Modernist movement. Sylvia Beach, Bryher, Natalie Barney, and Gertrude Stein. A trailblazing publisher; a patron of artists; a society hostess; a groundbreaking writer. They were all women who loved women. They rejected the patriarchy and made lives of their own – forming a community around them in Paris. Each of these four central women interacted with a myriad of others, some of the most influential, most entertaining, most shocking and most brilliant figures of the age. Diana Souhami weaves together their stories to create a vivid moving tapestry of life among the Modernists in pre-war Paris. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Diana Souhami talks about her new book No Modernism Without Lesbians, out 2020 with Head of Zeus books. A Sunday Times Book of the Year 2020. This is the extraordinary story of how a singular group of women in a pivotal time and place – Paris, between the wars – fostered the birth of the Modernist movement. Sylvia Beach, Bryher, Natalie Barney, and Gertrude Stein. A trailblazing publisher; a patron of artists; a society hostess; a groundbreaking writer. They were all women who loved women. They rejected the patriarchy and made lives of their own – forming a community around them in Paris. Each of these four central women interacted with a myriad of others, some of the most influential, most entertaining, most shocking and most brilliant figures of the age. Diana Souhami weaves together their stories to create a vivid moving tapestry of life among the Modernists in pre-war Paris. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Diana Souhami talks about her new book No Modernism Without Lesbians, out 2020 with Head of Zeus books. A Sunday Times Book of the Year 2020. This is the extraordinary story of how a singular group of women in a pivotal time and place – Paris, between the wars – fostered the birth of the Modernist movement. Sylvia Beach, Bryher, Natalie Barney, and Gertrude Stein. A trailblazing publisher; a patron of artists; a society hostess; a groundbreaking writer. They were all women who loved women. They rejected the patriarchy and made lives of their own – forming a community around them in Paris. Each of these four central women interacted with a myriad of others, some of the most influential, most entertaining, most shocking and most brilliant figures of the age. Diana Souhami weaves together their stories to create a vivid moving tapestry of life among the Modernists in pre-war Paris. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Diana Souhami talks about her new book No Modernism Without Lesbians, out 2020 with Head of Zeus books. A Sunday Times Book of the Year 2020. This is the extraordinary story of how a singular group of women in a pivotal time and place – Paris, between the wars – fostered the birth of the Modernist movement. Sylvia Beach, Bryher, Natalie Barney, and Gertrude Stein. A trailblazing publisher; a patron of artists; a society hostess; a groundbreaking writer. They were all women who loved women. They rejected the patriarchy and made lives of their own – forming a community around them in Paris. Each of these four central women interacted with a myriad of others, some of the most influential, most entertaining, most shocking and most brilliant figures of the age. Diana Souhami weaves together their stories to create a vivid moving tapestry of life among the Modernists in pre-war Paris. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Diana Souhami talks about her new book No Modernism Without Lesbians, out 2020 with Head of Zeus books. A Sunday Times Book of the Year 2020. This is the extraordinary story of how a singular group of women in a pivotal time and place – Paris, between the wars – fostered the birth of the Modernist movement. Sylvia Beach, Bryher, Natalie Barney, and Gertrude Stein. A trailblazing publisher; a patron of artists; a society hostess; a groundbreaking writer. They were all women who loved women. They rejected the patriarchy and made lives of their own – forming a community around them in Paris. Each of these four central women interacted with a myriad of others, some of the most influential, most entertaining, most shocking and most brilliant figures of the age. Diana Souhami weaves together their stories to create a vivid moving tapestry of life among the Modernists in pre-war Paris. Jana Byars is the Academic Director of Netherlands: International Perspectives on Sexuality and Gender. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode, Diana Souhami explains how Modernism was fundamentally shaped by lesbians* and queer people. We talk about how Sylvia Beach published Joyce's "Ulysses" when no publisher would touch it, how Bryher financed penniless artists who then became the crème de la crème of Modernism, how H.D. arguably wrote better imagist poetry than Pound, and which lesbian love affairs resulted in the most enticing scandals. Diana, who I may or may not have heard being referred to as Lesbian Royalty, has written an entire book about this: "No Modernism without Lesbians" (2020). From Paris salons of the early 20th century to fighting the patriarchy in the history books and syllabi of the 21st century, Diana covers it all.Authors and books mentioned:Radclyffe Hall's The Well of LonelinessSapphoNatalie BarneyGetrude SteinBryherH.D.Sylvia BeachJames Joyce's UlyssesT.S. Eliot's The WastelandEzra PoundF. Scott FitzgeraldErnest HemingwayVirginia Woolf's OrlandoVita Sackville-WestViolet Trefusis' Broderie AnglaiseOscar WildeDolly WildeJanet FlannerPublishers mentioned:Contact EditionsShakespeare and CompanyVisual artists mentioned:PicassoMatisseCezanneThe FauvesDiana Souhami's books mentioned:Gluck, 1895-1978: Her AutobiographyNo Modernism Without LesbiansAlice and GertrudeMrs Keppel and Her DaughterFind out more about Diana here: https://dianasouhami.com/If you're looking for more lesbian content, follow @DianaSouhami on Twitter and check out @Lena_Mattheis as well.“Silence is the biggest enemy of women* and lesbian women*. […] If you don't exist, you can't be any trouble.” (Diana Souhami in this episode)Questions you should be able to respond to after listening:1. Why were people such as Natalie Barney so inspired by Sappho? Why go back all the way to Ancient Greek poetry?2. Why was Radclyffe Hall's The Well of Loneliness banned?3. Why, according to Diana, would Modernism not have happened without lesbians*?4. Why was Sylvia Beach “intrinsic to Modernism”?5. What is a lavender marriage?6. Which Paris salons were important for queer women and Modernist artists and why?

This month, Christina, Bryan, and Rumaan are first joined by Diana Souhami, whose new book, No Modernism Without Lesbians, tells the story of Sylvia Beach, Bryher, Natalie Barney, Gertrude Stein, and the artistic community they built in Paris between the wars. Then June Thomas joins them for a discussion of the recent spate of period dramas featuring women in love. Why can’t the women in these films get a little electricity or running water? Items discussed on the show:  Dan D’Addario on Colton Underwood’s coming out, in Variety Daniel Schroeder on what Underwood’s coming out revealed about the Bachelor franchise, in Slate “Transgender Childhood Is Not a ‘Trend’,“ by Jules Gill-Peterson in the New York Times  No Modernism Without Lesbians, by Diana Souhami Saturday Night Live’s take on lesbian period dramas Ammonite Carol Portrait of a Lady on Fire (and Slate Spoiler Special episode) The World to Come Gay Agenda Bryan: The Lady and the Dale on HBOMax Rumaan: Julie Mehretu’s exhibit at the Whitney Museum, and the New York Times T Magazine conversation between Mehretu and her former partner Jessica Rankin June: The audiobook Hoosier Daddy, by Ann McMan and Salem West, and Not the Real Jupiter, by Barbara Wilson Christina: Eye to Eye: Portraits of Lesbians, by JEB, and June’s interview with JEB on Slate’s Working podcast about the making of the book This podcast was produced by Margaret Kelley. Please send feedback, topic ideas, and advice questions to outwardpodcast@slate.com. Slate Plus members get bonus segments and ad-free podcast feeds. Sign up now. Learn more about your ad choices. Visit megaphone.fm/adchoices

This month, Christina, Bryan, and Rumaan are first joined by Diana Souhami, whose new book, No Modernism Without Lesbians, tells the story of Sylvia Beach, Bryher, Natalie Barney, Gertrude Stein, and the artistic community they built in Paris between the wars. Then June Thomas joins them for a discussion of the recent spate of period dramas featuring women in love. Why can’t the women in these films get a little electricity or running water? Items discussed on the show:  Dan D’Addario on Colton Underwood’s coming out, in Variety Daniel Schroeder on what Underwood’s coming out revealed about the Bachelor franchise, in Slate “Transgender Childhood Is Not a ‘Trend’,“ by Jules Gill-Peterson in the New York Times  No Modernism Without Lesbians, by Diana Souhami Saturday Night Live’s take on lesbian period dramas Ammonite Carol Portrait of a Lady on Fire (and Slate Spoiler Special episode) The World to Come Gay Agenda Bryan: The Lady and the Dale on HBOMax Rumaan: Julie Mehretu’s exhibit at the Whitney Museum, and the New York Times T Magazine conversation between Mehretu and her former partner Jessica Rankin June: The audiobook Hoosier Daddy, by Ann McMan and Salem West, and Not the Real Jupiter, by Barbara Wilson Christina: Eye to Eye: Portraits of Lesbians, by JEB, and June’s interview with JEB on Slate’s Working podcast about the making of the book This podcast was produced by Margaret Kelley. Please send feedback, topic ideas, and advice questions to outwardpodcast@slate.com. Slate Plus members get bonus segments and ad-free podcast feeds. Sign up now. Learn more about your ad choices. Visit megaphone.fm/adchoices

This month, Christina, Bryan, and Rumaan are first joined by Diana Souhami, whose new book, No Modernism Without Lesbians, tells the story of Sylvia Beach, Bryher, Natalie Barney, Gertrude Stein, and the artistic community they built in Paris between the wars. Then June Thomas joins them for a discussion of the recent spate of period dramas featuring women in love. Why can’t the women in these films get a little electricity or running water? Items discussed on the show:  Dan D’Addario on Colton Underwood’s coming out, in Variety Daniel Schroeder on what Underwood’s coming out revealed about the Bachelor franchise, in Slate “Transgender Childhood Is Not a ‘Trend’,“ by Jules Gill-Peterson in the New York Times  No Modernism Without Lesbians, by Diana Souhami Saturday Night Live’s take on lesbian period dramas Ammonite Carol Portrait of a Lady on Fire (and Slate Spoiler Special episode) The World to Come Gay Agenda Bryan: The Lady and the Dale on HBOMax Rumaan: Julie Mehretu’s exhibit at the Whitney Museum, and the New York Times T Magazine conversation between Mehretu and her former partner Jessica Rankin June: The audiobook Hoosier Daddy, by Ann McMan and Salem West, and Not the Real Jupiter, by Barbara Wilson Christina: Eye to Eye: Portraits of Lesbians, by JEB, and June’s interview with JEB on Slate’s Working podcast about the making of the book This podcast was produced by Margaret Kelley. Please send feedback, topic ideas, and advice questions to outwardpodcast@slate.com. Slate Plus members get bonus segments and ad-free podcast feeds. Sign up now. Learn more about your ad choices. Visit megaphone.fm/adchoices

Last week we shared the story of Djuna Barnes and you can't have Djuna without the story of Natalie Barney,  Natalie was born in October 1876 in Dayton Ohio to a very wealthy family. Raised with an appreciation of art, music, and culture from a very young age they spent weekends in museums and author readings. One reading while in New York over the summer took a young Natalie and her mother to a bookshop to listen to Oscar Wilde.  While he was speaking a group of young boys began throwing candied cherries at Natalie. When Oscar saw this he picked her up and put her on his knee and read a story to her. Later in life, she would date Oscar's niece. In 1887 she went to Paris for the first time with her mother who was chasing her dream of being an artist. It began her instant love affair with France and she would return four years later traveling all over Europe and finally settling in Paris. In Spain she met the red-headed beauty Eva Sikelianas and fell in love, She had known since she was 12 that she was a lesbian and vowed to live an out and normal life. Natalie had a rather open idea when it came to relationships. She always wanted to date more than one person at a time and wasn't ever going to be devoted to just one person. One dramatic relationship after another some ending suddenly and some with dramatic shows of love before walking away. It became a right of passage for any lesbian in Paris to have spent some time in her bed but not to stay too long. Natalie left her mark on Paris with her salons that she held for over 60 years. Every expat  & artist that came through Paris visited her weekly salon from Colette, Rodin, Cocteau, Peggy Guggenheim, Gertrude Stein, and Hemingway to name a few. In 1909 she moved to a home at 20 Rue Jacob that came complete with a temple.  The small Temple of Friendship with its Doric columns sat in the garden and if those columns could talk, they would have quite a story. Watching Colette dressed and performed as Mata Hari and the late-night parties with naked party goers. There is so much more to her life, sit back and listen to today's newest episode all about her life. More info and photos: https://www.claudinehemingway.com/paris-history-avec-a-hemingway-podcast-1Support Claudine on Patreon and get more of Paris and all her stories and benefits like discounts on her tours, custom history and exclusive content  https://www.patreon.com/bleublonderougefacebook https://www.facebook.com/BleuBlondeRougeInstagram https://www.instagram.com/claudinebleublonderouge/Sign up for the weekly Blue Blonde Rouge newsletter  https://view.flodesk.com/pages/5e8f6d73375c490028be6a76Support the show (https://www.patreon.com/join/Laviecreative)

Djuna Barnes, the woman who mingled with the Lost Generation was born in 1892 in New York and would leave her mark in Paris. Born into a rather different family, her father had two wives and would later marry Djuna off to his second wife's brother. Shortly after her mother had too much she took her kids and left for New York. There Djuna began working as a writer for the New York Eagle. Not only was she a talented writer but also an illustrator who would draw pictures that accompanied each of her articles. In 1921 she arrived in Paris and settled in Saint Germain. She instantly mingled with the newly arriving American ex-pat group and the large group of lesbians that settled in Paris led by Natalie Barney, who will talk about next week. The two had a short affair, which was a right of passage for just about every lesbian that arrived in Paris. Their relationship was short but remained friends as long as Djuna lived in Paris. Involved with Thelma Wood while in Paris, the two had a volatile relationship that was very public resulting in arguments due to Thelma's drinking. After it ended Djuna turned to drinking too much and also wrote The Nightwood based on their love affair and her best-known book. She began writing the book sitting in the Cafe de la Mairie across from Saint Sulpice where many other writers would do the same. When her drinking became too much, friend Peggy Guggenheim sent her to London and finally back to New York where she would spend time in an asylum. While there she decided to write a play about the dark dirty secrets of her family which didn't please her family at all. She would spend the rest of her life alone and living like a recluse in her New York apartment and lived until she was 90 years old, dying just 6 days after her birthday June 18, 1982. Listen to the newest episode of La Vie Creative - Paris History Avec A Hemingway today. More info and photos: https://www.claudinehemingway.com/paris-history-avec-a-hemingway-podcast-1Support Claudine on Patreon and get more of Paris and all her stories and benefits like discounts on her tours, custom history, and exclusive content  https://www.patreon.com/bleublonderougeFacebook https://www.facebook.com/BleuBlondeRougeInstagram https://www.instagram.com/claudinebleublonderouge/Sign up for the weekly Blue Blonde Rouge newsletter  https://view.flodesk.com/pages/5e8f6d73375c490028be6a76 Support the show (https://www.patreon.com/join/Laviecreative)

Welcome to episode 26, “The High Priestess of Delphi,” featuring composer, choreographer, master weaver, and Sapphic feminist, Eva Palmer-Sikelianos (1874-1952). After almost founding a lesbian artist colony on the Greek island of Lesbos with fellow Sapphic pioneer, Natalie Barney, Eva wedded renowned Greek poet, Angelos Sikelianos. Fusing their reverence for ancient Greek tradition with the Universal brotherhood of Theosophy, they settled in Greece, and brought about the Delphic movement, for which Eva provided traditional hand-woven costumes, choreography, and music, as well as funding a microtonal organ customized for Byzantine tuning. Through Eva’s fascinating and under-regarded life, we’ll explore sapphic feminism, Theosophy, and the Delphic movement, while this episode offers the most extensive overview of her scarcely available recorded music. Welcome to the upward panic…                                                                       > > > MUSIC - IMAGES - VIDEO < < <  

Jess is joined by the award-winning author Diana Souhami who has just published a new book titled 'No Modernism Without Lesbians'. Discussions in this episode centre around personal anecdotes and experiences, Diana's unique take on history and lesbian characters, as well as musings on what a post-pandemic future might look like. There are also reflections on the notion of identity and how labels such as, for example, the idea of 'Jewishness', 'Germanness' or 'Queerness' play into this. Things mentioned in this episode:Diana's book 'No Modernism Without Lesbians; Sylvia Beach, Natalie Barney; Gertrude Stein; Shakespeare and Company; 

Moi, j'aime les cimetières. Quelle drôle d'idée, me direz-vous.  Ben, non. Les cimetières, c'est des espaces de respiration. J'adore ceux des banlieues. Thiais et son parc à la française avec des arbres fruitiers. Bagneux ? Y a plein d'oiseaux et d'écureuils. Dans d'autres, des hérissons, des chouettes et des renards ! Si, si, je vous assure. Et ça va continuer. Car depuis 2015,  fini les pesticides dans  les cimetières. Revenons à mes promenades. Vous connaissez  le cimetière de Passy ?  Non loin l'une de l'autre sont enterrées deux femmes de lettres. Elles se sont follement aimées au début du XXe siècle. La première, c'est Pauline Tarn, alias Renée Vivien, morte en 1909 à 32 ans. Une grande figure lesbienne romantique. D'ailleurs, sa tombe est toujours fleurie. L'autre, c'est la riche et scandaleuse Américaine Natalie Barney.  Renée Vivien l'avait quittée. Trop infidèle. A Montparnasse repose l’homme à tête de chou. Qui ça ? Enfin, Gainsbourg, voyons. Pas très loin, Joëlle, la chanteuse du groupe Il était une fois. Vous savez, la fameuse chanson : « J’ai encore rêvé d’elle / Et les draps s’en souviennent ». Et Dalida ? Elle est où, sa tombe ? A Montmartre. Statue en marbre avec des rayons dorés, on peut pas la rater, Yolanda. Ici aussi, on fait attention à la nature. En 2012, la Ville de Paris y a engagé une étude. Pour la protection paysagère et patrimoniale. Ah, j'oubliais le cimetière des Batignolles. Il devrait plaire aux amoureux des arbres.  Des centaines de marronniers, d'érables, de platanes… Et si vous aimez la poésie, Blaise Cendrars, André Breton, Benjamin Péret y sont enterrés. Et Paul Verlaine. Mon préféré ? Le  Père-Lachaise. C’est MON cimetière. J’ai presque l’impression d’être chez le coiffeur en train de feuilleter un magazine people. C'est LE cimetière des célébrités. Et chaque fois que je passe devant le gisant de Victor Noir, un journaliste mort en 1870, qu’est-ce que je me marre ! Le sculpteur  lui a fait une p'tite érection. Si vous saviez le nombre de femmes que j'ai vues s'y frotter. Soi-disant pour assurer leur fécondité… Quand il fait beau au Père-Lachaise, je m'assois sur un banc. Je parle aux grands-mères. Je caresse les chats. Y a toujours quelqu'un pour me proposer d'aller voir la tombe d'une personne connue. Franchement, j'ai une tête de touriste ?                

Sarah Parker focuses on the love affair between the Decadent poets Olive Custance and Renée Vivien and the American writer Natalie Barney, arguing that affecting ‘Frenchness’ and writing in French allowed them to articulate their desire for one another. This paper focuses on the literary productions inspired by the love affair between the Decadent poets Olive Custance, Renée Vivien (née Pauline Tarn), and the American writer Natalie Barney. It draws primarily on Vivien’s roman à clef 'Une Femme m’apparut' (A Woman Appeared to Me, 1904) along with Custance and Barney’s poetry. In analysing these texts, it is concerned primarily with the question: how does Vivien, Barney and Custance’s literary cosmopolitanism (in this case, their writing in – or affection of – ‘Frenchness’) reflect and interact with their expressions of lesbian desire? It also considers to what extent adopting a different language and national identity enabled these women to express a lesbian desire and to envision the possibility of a homoerotic cosmopolitan female community.

En el número 20 de la Rue Jacob de París estuvo el último salón mantenido por una sucesora de las célebres ilustradas francesas. En esa casa recibió Natalie Barney a intelectuales y  artistas durante más de cincuenta años. Por su salón pasaron Colette, André Gide, Marcel Proust, Oscar Wilde, Gertrude Stein o Djuna Barnes, que durante un tiempo fue su amante. Esta americana fue una de tantas leyendas que habitaron un París mítico en el que fue conocida como La Amazona.Escuchar audio

The art salon is sadly less prevalent in our day than in days past, but it is far from obsolete. In its heyday, the salon provided people- particularly women Natalie Barney, orPerle Mesta)- with an extraordinary power to shape cultural tastes and contemporary art. In the early 20th century, Mabel Dodge Luhan's salons in Florence and New York drew astonishing talents to her doorstep. Her gift for bringing artists together so they might collaborate and draw inspiration from one another played out even more grandly at the art colony she and her third husband founded in Taos, New Mexico. Over the years, they would play host to such luminaries as D.H. Lawrence, Ansel Adams, Willa Cather, and Georgia O'Keeffe. Though she's remembered more for her gift for building artistic communities, Luhan was an artist in her own right. Her book Winter in Taos is considered a classic of New Mexican literature and her four-volume memoir vividly explores the changes in Victorian sexuality, politics, art, and culture as the modern age approached. However, despite their candor, the memoirs were not wholly forthcoming: Luhan's writings about her struggles with depression, sexuality, and venereal disease were restricted at the behest of her family until the year 2000. In her excellent biography, The Suppressed Memoirs of Mabel Dodge Luhan: Sex, Syphilis, and Psychoanalysis in the Making of Modern American Culture (University of New Mexico Press, 2012), Lois Rudnick- who has been studying Luhan's life for over 35 years- explores these newly available documents, presenting Luhan's writing alongside her own analysis, to draw new conclusions about Luhan's life, loves, and work. Learn more about your ad choices. Visit megaphone.fm/adchoices

The art salon is sadly less prevalent in our day than in days past, but it is far from obsolete. In its heyday, the salon provided people- particularly women Natalie Barney, orPerle Mesta)- with an extraordinary power to shape cultural tastes and contemporary art. In the early 20th century, Mabel Dodge Luhan’s salons in Florence and New York drew astonishing talents to her doorstep. Her gift for bringing artists together so they might collaborate and draw inspiration from one another played out even more grandly at the art colony she and her third husband founded in Taos, New Mexico. Over the years, they would play host to such luminaries as D.H. Lawrence, Ansel Adams, Willa Cather, and Georgia O’Keeffe. Though she’s remembered more for her gift for building artistic communities, Luhan was an artist in her own right. Her book Winter in Taos is considered a classic of New Mexican literature and her four-volume memoir vividly explores the changes in Victorian sexuality, politics, art, and culture as the modern age approached. However, despite their candor, the memoirs were not wholly forthcoming: Luhan’s writings about her struggles with depression, sexuality, and venereal disease were restricted at the behest of her family until the year 2000. In her excellent biography, The Suppressed Memoirs of Mabel Dodge Luhan: Sex, Syphilis, and Psychoanalysis in the Making of Modern American Culture (University of New Mexico Press, 2012), Lois Rudnick- who has been studying Luhan’s life for over 35 years- explores these newly available documents, presenting Luhan’s writing alongside her own analysis, to draw new conclusions about Luhan’s life, loves, and work. Learn more about your ad choices. Visit megaphone.fm/adchoices

The art salon is sadly less prevalent in our day than in days past, but it is far from obsolete. In its heyday, the salon provided people- particularly women Natalie Barney, orPerle Mesta)- with an extraordinary power to shape cultural tastes and contemporary art. In the early 20th century, Mabel Dodge Luhan’s salons in Florence and New York drew astonishing talents to her doorstep. Her gift for bringing artists together so they might collaborate and draw inspiration from one another played out even more grandly at the art colony she and her third husband founded in Taos, New Mexico. Over the years, they would play host to such luminaries as D.H. Lawrence, Ansel Adams, Willa Cather, and Georgia O’Keeffe. Though she’s remembered more for her gift for building artistic communities, Luhan was an artist in her own right. Her book Winter in Taos is considered a classic of New Mexican literature and her four-volume memoir vividly explores the changes in Victorian sexuality, politics, art, and culture as the modern age approached. However, despite their candor, the memoirs were not wholly forthcoming: Luhan’s writings about her struggles with depression, sexuality, and venereal disease were restricted at the behest of her family until the year 2000. In her excellent biography, The Suppressed Memoirs of Mabel Dodge Luhan: Sex, Syphilis, and Psychoanalysis in the Making of Modern American Culture (University of New Mexico Press, 2012), Lois Rudnick- who has been studying Luhan’s life for over 35 years- explores these newly available documents, presenting Luhan’s writing alongside her own analysis, to draw new conclusions about Luhan’s life, loves, and work. Learn more about your ad choices. Visit megaphone.fm/adchoices

The art salon is sadly less prevalent in our day than in days past, but it is far from obsolete. In its heyday, the salon provided people- particularly women Natalie Barney, orPerle Mesta)- with an extraordinary power to shape cultural tastes and contemporary art. In the early 20th century, Mabel Dodge Luhan’s salons in Florence and New York drew astonishing talents to her doorstep. Her gift for bringing artists together so they might collaborate and draw inspiration from one another played out even more grandly at the art colony she and her third husband founded in Taos, New Mexico. Over the years, they would play host to such luminaries as D.H. Lawrence, Ansel Adams, Willa Cather, and Georgia O’Keeffe. Though she’s remembered more for her gift for building artistic communities, Luhan was an artist in her own right. Her book Winter in Taos is considered a classic of New Mexican literature and her four-volume memoir vividly explores the changes in Victorian sexuality, politics, art, and culture as the modern age approached. However, despite their candor, the memoirs were not wholly forthcoming: Luhan’s writings about her struggles with depression, sexuality, and venereal disease were restricted at the behest of her family until the year 2000. In her excellent biography, The Suppressed Memoirs of Mabel Dodge Luhan: Sex, Syphilis, and Psychoanalysis in the Making of Modern American Culture (University of New Mexico Press, 2012), Lois Rudnick- who has been studying Luhan’s life for over 35 years- explores these newly available documents, presenting Luhan’s writing alongside her own analysis, to draw new conclusions about Luhan’s life, loves, and work. Learn more about your ad choices. Visit megaphone.fm/adchoices

The art salon is sadly less prevalent in our day than in days past, but it is far from obsolete. In its heyday, the salon provided people- particularly women Natalie Barney, orPerle Mesta)- with an extraordinary power to shape cultural tastes and contemporary art. In the early 20th century, Mabel Dodge Luhan’s salons in Florence and New York drew astonishing talents to her doorstep. Her gift for bringing artists together so they might collaborate and draw inspiration from one another played out even more grandly at the art colony she and her third husband founded in Taos, New Mexico. Over the years, they would play host to such luminaries as D.H. Lawrence, Ansel Adams, Willa Cather, and Georgia O’Keeffe. Though she’s remembered more for her gift for building artistic communities, Luhan was an artist in her own right. Her book Winter in Taos is considered a classic of New Mexican literature and her four-volume memoir vividly explores the changes in Victorian sexuality, politics, art, and culture as the modern age approached. However, despite their candor, the memoirs were not wholly forthcoming: Luhan’s writings about her struggles with depression, sexuality, and venereal disease were restricted at the behest of her family until the year 2000. In her excellent biography, The Suppressed Memoirs of Mabel Dodge Luhan: Sex, Syphilis, and Psychoanalysis in the Making of Modern American Culture (University of New Mexico Press, 2012), Lois Rudnick- who has been studying Luhan’s life for over 35 years- explores these newly available documents, presenting Luhan’s writing alongside her own analysis, to draw new conclusions about Luhan’s life, loves, and work. Learn more about your ad choices. Visit megaphone.fm/adchoices

The art salon is sadly less prevalent in our day than in days past, but it is far from obsolete. In its heyday, the salon provided people- particularly women Natalie Barney, orPerle Mesta)- with an extraordinary power to shape cultural tastes and contemporary art. In the early 20th century, Mabel Dodge Luhan’s salons in Florence and New York drew astonishing talents to her doorstep. Her gift for bringing artists together so they might collaborate and draw inspiration from one another played out even more grandly at the art colony she and her third husband founded in Taos, New Mexico. Over the years, they would play host to such luminaries as D.H. Lawrence, Ansel Adams, Willa Cather, and Georgia O’Keeffe. Though she’s remembered more for her gift for building artistic communities, Luhan was an artist in her own right. Her book Winter in Taos is considered a classic of New Mexican literature and her four-volume memoir vividly explores the changes in Victorian sexuality, politics, art, and culture as the modern age approached. However, despite their candor, the memoirs were not wholly forthcoming: Luhan’s writings about her struggles with depression, sexuality, and venereal disease were restricted at the behest of her family until the year 2000. In her excellent biography, The Suppressed Memoirs of Mabel Dodge Luhan: Sex, Syphilis, and Psychoanalysis in the Making of Modern American Culture (University of New Mexico Press, 2012), Lois Rudnick- who has been studying Luhan’s life for over 35 years- explores these newly available documents, presenting Luhan’s writing alongside her own analysis, to draw new conclusions about Luhan’s life, loves, and work. Learn more about your ad choices. Visit megaphone.fm/adchoices