By Marion Meade
In her exuberant new paintings, BOBBED HAIR AND bath GIN, Marion Meade offers a portrait of 4 outstanding writers--Dorothy Parker, Zelda Fitzgerald, Edna St. Vincent Millay, and Edna Ferber--whose loves, lives, and literary endeavors embodied the spirit of the 1920s.
Capturing the jazz rhythms and determined gaiety that outlined the period, Meade supplies us Parker, Fitzgerald, Millay, and Ferber, strains the intersections in their lives, and describes the lads (F. Scott Fitzgerald, Edmund Wilson, Harold Ross, and Robert Benchley) who encouraged them, enjoyed them, and occasionally betrayed them. listed here are the social and literary triumphs (Parker's around desk witticisms seemed nearly day-by-day within the newspapers and Ferber and Millay gained Pulitzer Prizes) and necessarily the penances every one paid: crumbled amorous affairs, abortions, melancholy, misplaced good looks, anxious breakdowns, and at last, overdoses or even madness.
These literary heroines did what they sought after, acknowledged what they concept, dwelling absolutely within the second. They kicked open the door for twentieth-century girls writers and set a brand new version for each lady attempting to juggle the intense problems with financial independence, political strength, and sexual freedom. Meade recreates the thrill, romance, and promise of the Nineteen Twenties, a decade celebrated for cultural innovation--the beginning of jazz, the start of modernism--and social and sexual liberation, bringing to gentle, besides, the nervousness and depression that lurked underneath the nonstop partying and outrageous behavior.
A bright mix of literary scholarship, social historical past, and scandal, BOBBED HAIR AND bath GIN is a wealthy evocation of a interval that would endlessly intrigue and captivate us.
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Extra info for Bobbed Hair and Bathtub Gin: Writers Running Wild in the Twenties
Hoffmann's story 'The Golden Pot" Wagner dubbed Cosima the enchanting Serpentina of Hoffmann's story, himself the demonic Archivarius Lindhorst, and Nietzsche the dreamy and clumsy student Anselmus. For his Christmas visit, Nietzsche went to great lengths to supply just therightwine glasses, tulle streamers with gold stars and polka dots, a carved Christ Child, and a set of 58 Nietzsche puppets. He dutifully assisted with the Wagners' Christmasritualof gilding apples and nuts, and just as dutifully perused the galleys of Richard Wagner's autobiography.
He absorbed it into himself to test how much of it he could bear without losing his lust for life. Terminologically, his early jottings while caught up in reading Schopenhauer were not framed as a "Will to Power," but in practice he was already experimenting with this will to power, because, in his view, Schopenhauer's negation of the will was not denial but extreme affirmadon. It signaled the victory of the mental will over the natural will. Nietzsche considered both internal and external forces of life sublime when regarded from a Schopenhauerian perspective.
Nietzsche sought a theme that would allow him to create music with words. After 59 60 Nietzsche meeting Wagner, he discovered that the theme had been right in front of his nose all along. It was Greek tragedy. Even before his encounter with Wagner, Nietzsche had dealt with this topic, but only now did he discover the "vortex of being" that it offered, as he stated in a draft of a preface to The Birth of Tragedy (7,351). Nietzsche wrote this first book while still beholden to the philological profession and wanting to vindicate his premature academic appointment, when he had neither doctorate nor postdoctoral thesis in hand, with a dazzling publication.
Bobbed Hair and Bathtub Gin: Writers Running Wild in the Twenties by Marion Meade