The Engines of Modern Art
No Modernism without Lesbians
by Diana Souhami
Head of Zeus. 432 pages, £25.
FOR THIRTY YEARS, Diana Sou-hami has written books about lesbian writers, painters, and actors who were trailblazers both in their lives and work—mostly subjects with big names: Greta Garbo, Gertrude Stein, Vita Sackville-West; Radclyffe Hall, and Virginia Woolf. If it was a star who spoke English and refused to wear a skirt, she was all over it. Souhami’s books have been beautifully published on both sides of the Atlantic, widely translated, and routinely well reviewed in prestigious literary venues such as The London Review of Books and The New York Times.
No Modernism without Lesbians is a new variation on the theme. In spotlighting four of our lesbian foremothers and their circles, Souhami challenges the modernist canon that has dominated cultural education at their expense, foregrounding instead great men and their muses. This book rebalances the historical record with a thoroughly absorbing look at the lives and times of Sylvia Beach, Bryher, Natalie Barney, and Gertrude Stein: their worlds, passions, and lovers.
These were women who were avid for new experiences, hungry for connection, and determined to break conventions. Nothing came easy. These lesbian leading ladies were intense, decisive women fully capable of sleeping in any bed they chose, when they chose. Some of them, like America’s first princess, Winnaretta Singer, the sewing machine heiress who married Prince Edmond de Polignac, were high-maintenance closet cases. Those who were mostly out identified across a broad spectrum as butches, femmes, Sapphists, kikis, dykes, or sometimes just as garden variety queers. Love them or hate them, these were dangerous women: women to watch out for.
Madness runs all through this book. Each section includes protagonists or supporting characters who were mentally ill: Sylvia Beach’s mother Eleanor; Bryher’s life partner, the poet Hilda Doolittle (“H.D.”); Gertrude Stein’s neurotic brother Leo; Romaine Brooks’ mother Ella; Lucia Joyce, daughter of James Joyce, who was institutionalized along with Natalie Barney’s godson Raymond Douglas, the son of Oscar Wilde’s famous boyfriend; Joyce’s daughter-in-law Helen Fleischmann; Zelda Fitzgerald, who needs no introduction; suicidal poet Renée Vivien; bipolar ingénue Dolly Wilde; and Baroness Elsa von Freytag-Loringhoven, another poet who wandered Paris dressed as a bag lady.
Souhami’s gossipy tone sheds light on their complicated, often secretive lesbian lives. Many burned or destroyed their racy photographs and letters to keep them away from prying eyes. But there are some secrets that Souhami prefers to keep under wraps. It is odd, for example, that she never cites the work of Barbara Will and Janet Malcolm on Gertrude Stein’s active collaboration with Pétain’s pro-Nazi Vichy regime during World War II.
Some of the book’s best writing focuses on Four Saints in Three Acts, a vanguard opera of the 1930s based on Gertrude Stein’s alphabet soup, with a brilliant score by Virgil Thomson and cutting-edge sets and costumes designed by another underexposed artist, Florine Stettheimer. Written in 1927-28, Four Saints languished for six years before its first performance. Directed by then-unknown John Houseman with choreography by Frederick Ashton, Four Saints was the Hamilton of its day. But the all-black cast shocked suburbanites at the traditionalist Wadsworth Athenaeum in Hartford and contributed to the firing of the museum’s pace-setting director Arthur Everett “Chick” Austin, Jr.—a great friend of another lesbian power couple in this circle, Grace Frick and Marguerite Yourcenar.
Original cast of Four Saints in Three Acts, at the Wadsworth Atheneum, Hartford, 1934. Harold Swahn photo.
Souhami calls for a deeper appreciation of gay lives, and especially women’s lives. Take, for example, Bryher (Annie Winifred Ellerman), one of Britain’s richest woman who thought of herself as transgender. Bryher’s patronage was crucial in establishing the avant-garde platforms. More needs to be said about her financing of African-American artists and early experiments in film. Souhami asserts that Bryher loved H.D. unconditionally and regarded the sexually fluid poet’s madness as a gift that lent wings to her genius. Souhami also seems to regard Bryher’s tempestuous relationship with H.D. as controlling and insensitive.
To learn more, I spoke with Susan McCabe, whose biography of Bryher is forthcoming from Oxford in 2021. McCabe sees the relationship more as a partnership of equals and suggests that Bryher and H.D. were kindred spirits drawn together by their mutual sorrows in a healing bond. This allowed them to survive punishing cycles of acrimony, oppositions, and flare-ups that ultimately proved unthreatening over a lifetime.
No Modernism without Lesbians makes a compelling case for forgetting everything we thought we knew about the origins of Modernism. As an art historian, I am aware that there are many schools of thought on this. Convincing evidence is cited for the claim that Modernism began in painting with Courbet, or else started with the Post-Impressionists, and so on. Whether it began in Paris in 1905, 1912, or 1922 is irrelevant. Since the dawn of the arts, lesbians have always been at the vanguard of new movements. It has always been a necessity for lesbians to defy patriarchal norms to live freely and survive. This simple truth has been ignored by cultural historians for too long.
Even so, is the claim of “no Modernism without lesbians” too sweeping to be substantiated? Souhami makes her profession in literature, so it makes sense that the publication of Ulysses in 1922 is her jumping-off place. From that perspective, there’s no question that Modernism had many lesbian mothers who nurtured the men that history has privileged. This book offers unambiguous evidence that men were not at the center. For men like Cocteau and Dalí, Joyce, Picasso, Diaghilev, and Hemingway, it was women who published their books, bankrolled their galleries, threw their launch parties, translated their works, reviewed them in The New Yorker, bought their paintings, financed their operas, furnished their film equipment, starred in their pictures, and rescued their failing companies. Souhami’s argument might make better sense as “no Modernism without Paris,” which was the mecca that attracted all creative seekers.
But No Modernism without Lesbians is important for 2020 because it rips apart the prevailing patriarchal model. What Souhami calls for is abandoning the Modernist canon and rebuilding it one lesbian at a time to create a new, inclusive, 21st-century model. This project will send readers back, not only to a cast of characters that Souhami has spent her life compiling, but to works of others writing about lesbians and their role in supporting and advancing the arts.
Cassandra Langer, a freelance writer based in New York City, is the author ofRomaine Brooks: A Life (Wisconsin).
The Accidental Biographer: Beware!
I never started out as a biographer. It was always about how I took in the picture before me, tasted it, rolled it over, let it sit in my sensorium, and savored all its flavor — appreciating the artistry of the maker; composition, color, execution, emotions. In short, I was able to follow along when an artist grabbed me with just one look and took me to places both familiar and strange.
From childhood, even as a small toddler, I’ve had this uncanny ability to experience words and pictures in the most intense way. It was one of these experiences (as I write in my introduction to Romaine Brooks: A Life (forthcoming from University of Wisconsin press in 2015) that set me on a 44-year course of investigation. I left me with a need to know so intense that throughout my academic and teaching career I felt compelled to follow the elusive trail that Beatrice Romaine Goddard (Brooks) had forged.
An Intriguing Subject…and Audience
It began with the first scholarly/critical article to be written in America on Brooks’s intriguing, chromatically painted portraits. I followed up with a lecture that garnered the attendance of an ACLU representative from Florida International University. This was, after all, the early 1970s, and I was an out lesbian dealing with an out subject and painter of lesbian and gay subjects. Over the years I continued to write critical commentary on any Brooks articles and/or essays that appeared.
Finally, in 2000, after reading yet another essay sidestepping the problems of Brooks’s complicated relationship with D’Annunzio and right-wing conservative politics of the period, my frustrations propelled me to deal with the issue head-on. I then published two more articles to set the framework for an in-depth look at Romaine’s fascist aesthetics in my new book.
Thus, the Accidental Biographer
In order to unearth the truth of Romaine’s life, I had to become an accidental biographer. That determination set me on a course I never intended to take. If you truly want to understand the real nature of the biographer’s art, you’ll have to read my introduction as to how this studio/art history/philosophy student was compelled to become a reluctant biographer by default.