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GUSTAV AND ALMA MAHLER

RT43884.indb 1 9/27/07 9:44:10 PM Routledge Music Bibliographies S   E: B E  COmPOsers Isaac Albéniz (1998) Charles Ives (2002) Adrian Willaert (2004) Walter A. Clark Gayle Sherwood David Michael Kidger C. P. E. Bach (2002) (1998) Doris Bosworth Powers Nancy R. Ping-Robbins Genres Samuel Barber (2001) Zoltán Kodály (1998) American Music Wayne C. Wentzel Mícheál Houlahan and Librarianship (2005) Béla Bartók, 2nd Edition Philip Tacka Carol June Bradley nd (1997) , 2 Edition Central European Folk Elliott Antokoletz (2004) Music (1996) (2002) Michael Safe Philip V. Bohlman Stephen A. Willier Guillaume de Machaut Chamber Music, 2nd Edition Alban Berg (1996) (1995) (2002) Bryan R. Simms Lawrence Earp John H. Baron Gustav and Alma Mahler, Leonard Bernstein (2001) Church and Worship Music 2nd Edition (2008) Paul F. Laird (2005) Susan M. Filler (2003) Avery T. Sharp and James Heather Platt Michael Floyd Bartholdy (2001) (1996) John Michael Cooper (2006) Peter J. Hodgson Stephen D. Lindeman Olivier Messiaen (2008) William Byrd, 2nd Edition Vincent P. Benitez Ethnomusicology (2003) (2005) Jennifer C. Post Giovanni Pierluigi da Richard Turbet Palestrina (2001) Jazz Scholarship and Elliott Carter (2000) Clara Marvin Pedagogy, Third Edition (2005) John L. Link (1999) Eddie S. Meadows Carlos Chávez (1998) Linda B. Fairtile Robert Parker (2004) Music in Canada (1997) Frédéric Chopin (1999) Stephen Zank Carl Morey William Smialek (2002) The Musical (2004) Aaron Copland (2001) Denise P. Gallo William A. Everett Marta Robertson and Camille Saint- Saëns (2003) North American Indian Robin Armstrong Timothy S. Flynn Music (1997) Richard Keeling Frederick Delius (2005) Alessandro and Domenico Mary L. Huisman Scarlatti (1993) Opera, 2nd Edition (2001) (2000) Carole F. Vidali Guy Marco James P. Cassaro Heinrich Schenker (2003) The Recorder, 2nd Edition (1993) Benjamin Ayotte (2003) Christopher Kent (2004) Richard Griscom and Gabriel Fauré (1999) Ellon D. Carpenter David Lasocki Edward R. Phillips (1998) Serial Music and Serialism Christoph Willibald Gluck, Glenda D. Goss (2001) 2nd Edition (2003) (1998) John D. Vander Weg Patricia Howard Gregory Harwood String Quartets (2005) G.F. Handel, 2nd Edition Tomás Luis de Victoria Mara E. Parker (2004) (1998) The Violin (2006) Mary Ann Parker Eugene Casjen Cramer Mark Katz Paul Hindemith (2005) (2002) Women in Music (2005) Stephen Luttman Michael Safe Karin Pendle

RT43884.indb 2 9/27/07 9:44:11 PM GUSTAV AND ALMA MAHLER A RESEARCH AND INFORMATION GUIDE

SECOND EDITION

SUSAN M. FILLER

ROUTLEDGE MUSIC BIBLIOGRAPHIES

New York London

RT43884.indb 3 9/27/07 9:44:12 PM Routledge Routledge Taylor & Francis Group Taylor & Francis Group 270 Madison Avenue 2 Park Square New York, NY 10016 Milton Park, Abingdon Oxon OX14 4RN

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Library of Congress Cataloging‑in‑Publication Data

Filler, Susan Melanie, 1947‑ Gustav and Alma Mahler : a research and information guide / Susan M. Filler. ‑‑ 2nd ed. p. cm. ‑‑ (Routledge music bibliographies) Includes bibliographical references (p. ) and index. ISBN 978‑0‑415‑94388‑8 (hardback) ‑‑ ISBN 978‑0‑203‑93285‑8 (ebook) 1. Mahler, Gustav, 1860‑1911‑‑Bibliography. 2. Mahler, Alma, 1879‑1964‑‑Bibliography. I. Title.

ML134.M34F54 2008 016.78092‑‑dc22 2007028775

Visit the Taylor & Francis Web site at http://www.taylorandfrancis.com and the Routledge Web site at http://www.routledge.com

RT43884.indbT&F_LOC_G_Master.indd 4 1 9/27/077/18/07 9:44:136:45:38 PMAM This book is lovingly dedicated to the memory of my father’s brother, George Filler, who believed in me and showed me how to believe in myself. I miss you.



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Introduction 1

Gustav and Alma Mahler 9 A Brief Chronology 9

Classied Listing of Mahler’s Works 13

Surviving Works of Alma Mahler-Werfel 29

List of Abbreviations 33

Compendia 35

Encyclopedia References 49

Catalogs and Lists 53

History 63

Visuals 99

Biographies 105

Mahler’s Letters 153

Conducting Activities 161

Alma Mahler-Werfel 191

Literary Inuences 203

Publishers 213

Mahler’s Place in Musical History 223

Reception/Historiography 243

vii

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Media and Criticism 251

Philosophical Views 257

Mahler’s Works 265

Facsimiles 311

Individual Analyses 315

Other Works 365

Miscellaneous 375

Author Index 377

Subject Index 387

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Gustav Mahler was recognized in his time as a major conductor, but he did not achieve commensurate reputation as a composer until many years after his death. His works gained a modicum of acceptance through the labors of conductors who had been his colleagues, despite popular and critical ambivalence. With the centennial of Mahler’s birth, however, a change in public reaction to his music became evident, and today the Mahler “boom” is still vital. However, while audiences became increasingly interested in Mahler’s music and composers of the twentieth and twenty- rst centuries acknowledged the inu- ence of his style on their works, musicological study of Mahler’s life and work lagged behind in pace. The need for critical study of his work and the conditions under which he composed has only been recognized comparatively recently. This problem was particularly unfortunate in view of the importance of Mahler as a personage in his time. He was a linchpin in a circle of intellectual giants who affected the history of creative endeavor to this day. He was born in Bohemia in a time when it was part of the Austrian Empire; he was a Jew who formally converted to Catholicism, but neither he, his friends nor his enemies for- got his Jewish background. While Jews in the Austrian Empire, from intellectual to laborer, felt the widespread antisemitism existing in the Austrian governmen- tal and social hierarchy every day (and with good reason, since it was strongly entrenched and would culminate in the tragedy of the Third Reich), the Jews of Vienna included some of the greatest luminaries of the intellectual and politi- cal revolutions at the n-de-siècle, including Mahler, Arnold Schoenberg, Viktor Adler, Ludwig Wittgenstein, Sigmund Freud, Theodor Herzl and Franz Werfel. It is incredible that such brilliance could grow so strong in ground, which, in retrospect, appears incapable of nourishing anything but decay, ennui and sui- cide. Certainly Joseph Stalin and Adolf Hitler learned political lessons in Vienna that bore terrible consequences later, even as Mahler, Freud, Adler, Wittgenstein, Werfel, Herzl and the composers of the Second Viennese School sought to make positive gains from the old order. We are bound to concede that Vienna was a major center for changes that are with us to this day, for better or worse. Mahler lived only a limited time in that rari ed atmosphere, but he did not live in a vacuum; his music and his writings reveal sensitivity to the world around him and its effect on his own life. Romantic in emotional expression, he was nevertheless grounded in the forms of the baroque and classical peri- ods. His works are based on the forms of theme-and-variations, rondo, - allegro, scherzo-and-trio, even ritornello, which he adapted from the examples of Bach, Mozart and Beethoven; yet his gift for melody was his own, and his orchestration was likewise unique. He was inuenced by poetry of the “folk” 

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type while simultaneously incorporating elements of Nietzsche and Goethe and German adaptations of exotica from the East; this was a diversity he shared with Schubert, Schumann and Brahms. His vocal style was inuenced by the operas of Wagner, but he never completed an opera of his own, con ning most of his work to songs and . He wrote music that melodically creates a sense of déjà vu, but he antagonized audiences and critics of his time (and long after) with harmonic experiments that inuenced Schoenberg and his followers in the twelve-tone revolution. In short, Mahler was a Januskopf, a head with faces looking forward and backward simultaneously, and was, therefore, misunderstood by the concert- going public of his time (which, true to form, misunderstood the work of those who came after him as well). But, although the public was skeptical of his genius as a composer, it recognized his remarkable gifts as a conductor. For ten years he was the director of the Vienna Opera, an institution that has taken, chewed up and spit out more famous conductor-directors than almost any other opera house in history. That he survived in the position for such an extended period—the incred- ible span of ten years is the second longest in the history of the house, equaled by Salmhofer and surpassed only by Jahn—testi ed to Mahler’s artistry, business acumen and, ironically, tenacity. In his artistic perfectionism, he spared neither himself nor others. In that respect, he was a dreamer and his results have enriched posterity. Conversely, however, he was eminently practical; without such practicality, he could not have run the leading opera house in Europe for ten years nor fought his way up the lad- der at other houses until he reached that peak. Therefore, in a manner of speaking, he was a man of great stature; his head was in the clouds, but his feet were solidly planted on the ground. Mahler’s wife, Alma, was herself a composer of considerable skill, but her work was neglected even longer than that of her husband. While Alma, as a Cath- olic, was not impeded by the antisemitism that affected Mahler, she carried a dif- ferent handicap in her sex. Musicologists have only comparatively recently begun to accord the work of female composers the same consideration given to the work of their male counterparts, i.e., concern for the worth of the music untempered by societal prejudice inherent in the knowledge of the composer’s gender. Even today, however, advocates of the compositional work of Alma Mahler must strug- gle to obtain recognition for the composer without reference to the femme fatale known to history. The literature devoted to Alma has grown by leaps and bounds since I addressed the subject in the rst edition of this book, and I am happy to note that a signi cant number of new references speci cally deal with her musi- cal works. She was “liberated” in a society that gave women few professional options; she was an intellectual companion to men who would not suffer fools gladly: Mahler, Walter Gropius, Oskar Kokoschka, Franz Werfel, Arnold Schoenberg, Thornton Wilder, Arthur Schnitzler, Max Reinhardt, Thomas Mann and many others. She was physically attractive, but men were drawn to her by her wit and

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intelligence, which were more permanently valuable than any conventional sex appeal. Her strong will and sense of herself as focus among all those intellectuals have created enemies for her; yet she exerted inuence on men seldom seen in the life of one woman. She observed and recorded history and culture with a sharp critical eye, although she has been accused of distorting reality in her writings. However, in spite of the limitations in her representation of reality, she was an important commentator on subjects from music to politics, literature to art, medicine to world travel. And she was never dull. While much has been written about Mahler and more than one might think about Alma (and it has grown appreciably in the past fteen years), the literature is variable in type and quality. It is impossible to include all existing literature on the subject, in this book or any other; that corpus grows month by month, a fact that is the primary raison d’être for this new edition updating the book rst published in 1989. Thus, in writing this book, my rst and most dif cult task was and remains that of selection. Not surprisingly, I have been affected by the work of predecessors who trod similar ground, the chief of them being Bruno and Eleonore Vondenhoff and Simon Michael Namenwirth. I salute the work of these scholars, but—while acknowledging their example—I must note that my concep- tion of my task differs somewhat from theirs. In the rst edition I chose to include information in eighteen languages, and in this edition have added to that total in order to show the scope of literature on Gustav and Alma Mahler in many different forms. This new edition, like the rst, is published in the United States; thus, the inclusion of information in such languages as Russian, Greek, Yiddish, Hebrew and Slovene may appear to be an exercise in eccentricity, if not indeed futility (especially in view of the fact that entries in such languages are limited in number by comparison with the compass of literature in German, English and other Western European languages). But my aim has been partially to show that the literature on the subject has taken forms that might even surprise specialists who are familiar with the available literature, and partially to show to those who are native speakers of these other languages that information is available to them, often in forms completely distinct from equivalents in the languages of Western Europe and the United States. Not all literature is of such type as to be automatically included. I selected information according to the following guidelines: • Eyewitness accounts of Gustav and Alma Mahler’s lives by themselves and others (including letters, autobiographies, biographies and essays). • Biographies of Gustav and Alma Mahler that do not rank as eyewitness accounts, especially by scholars from the postwar period to the present, which has seen a major development in Mahler studies. • Medico-psychological studies that present a specialized but substantial subsection of the biographical references.

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• Eyewitness critical accounts of Mahler’s performances reprinted in book form (as opposed to such reviews from periodicals, which are so numer- ous as to be disconcerting and also rather ephemeral). • Musicological and historical studies placing Gustav and Alma Mahler’s lives and works in musical and cultural perspective (actually two sub- jects, since studies of their works inevitably refer to their background). • Individual analyses of works (including introductory critical studies in scores comparable to articles and books) and collections of such analyses. • Literary sources used by Gustav and Alma Mahler in their works, espe- cially the vocal settings in song, and cantata form, and critical assessments of these sources when relevant to their musical connections. • Documentation of the history of publishers of Gustav and Alma Mahler’s music. Likewise, I omitted certain types of sources that appeared to be less relevant to modern use or of lesser permanent value: • Biographies of other composers, except autobiographies that include eyewitness accounts of Gustav and Alma Mahler, on the theory that such biographies—while not necessarily irrelevant—are not central to the subject at hand and are doubtless best handled by specialists to whom their subjects are central. • Obituaries and social notices from periodicals, which share the limita- tions of the reviews of performances in periodicals as noted above. • Unpublished sources with the exception of completed doctoral disserta- tions and a small number of others (although the exclusion of disserta- tions in progress as of this writing has been a dif cult quali cation to make). • Program notes from individual performances (although I have included certain collections of such notes documenting the cycle of many works of Mahler because these are comparable to short introductory collec- tions of analyses in book form, unlike individual notes). • General histories of music, except certain books valuable for historical documentation of the musicological reception of Mahler’s work. Of course, not every entry in this bibliography is of equal merit. A dif - cult choice I was forced to make was whether to cite items that are not reliable sources of information. In electing to include sources that are inferior in factual quality, I suggest that the reader take them at face value for historiographical documentation and no more. A special facet of this problem was the inclusion of many references from the German-speaking countries during the Third Reich. The antisemitic literature about Mahler dated from his lifetime and continued without abatement for at least thirty- ve years after his death; it reached a peak in the pseudomusicology of the Nazis, in which Maher’s reputation was vili ed along with the reputations of other Jewish intellectuals from the Mendelssohns to

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Heine, from Freud to Schoenberg. The ugly literature published by Nazi adher- ents has been eschewed by postwar scholars on moral grounds, with very good reason. My purpose in including such materials in this book has been to show that such contributions, apart from their immorality, were intellectually unsound. I have not yet read a Nazi contribution to the Mahler literature that was really well- reasoned and documented in the manner expected of musicologists today. But, while worthless intellectually, such material constitutes revealing documentation of a stage in the history of Mahler’s work and is, therefore, historiographically necessary for an understanding of the long road Mahler’s professional reputation has traveled. While I understood the necessity of including such materials for intellectual scrutiny, my personal reaction is at best ambivalent. As an American Jew of the generation following the Holocaust, I had not experienced it personally; but the connection of Nazi-sponsored musicological literature with the atrocities com- mitted during the period was obvious, and it disgusted me. Nevertheless, I have continued my research in this subject matter and extended it in several ways in the years since the rst edition of this book because of my conviction that I live to contribute to the historical record on behalf of those who did not. Many materials included here may not be easily accessible. I located them in libraries specializing in literature long out of print or specialized collections assembled without distinction of language. While I have not been able to incor- porate into this book the information in my les about locations of rare items, I suggest that my readers make their own quests for some of these esoterica, which round out the picture of Mahler research beyond references routinely cited in major lists and led in major libraries. My own discoveries of many such items often resulted in some of the happiest moments during my research on the rst edition and since, proving that research is, in itself, a satisfying if dif cult process for those who are emotionally committed to its methods. A major breakthrough in the history of Mahler research has been provided in the publications of the Internationale Gesellschaft of Vienna. I owe much to the Critical Edition, the more recent Bibliothek der Internatio- nalen Gustav Mahler Gesellschaft series, and especially the continuing issues of News about Mahler Research (Nachrichtungen zur Mahler-Forschung). The latter publication, apart from listing Mahler editions, books, articles, meetings and lectures (on which I depend as part of my own search process), includes short articles of individual interest, some of which I have included here. As it is issued simultaneously in German and English, my citations in this book take the English forms. But, after comparing the versions in the two languages, I doubt that Ger- man-speaking readers will be at much of a loss if they investigate such items in the German version, because the pagination and content are comparable.

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Acknowledgments The process of compiling information for this book would have been inter- minable if I had not been assisted by many people and organizations who have been generous with their assistance even when some of them quite vocally dis- agreed with my opinions. I owe a major debt of gratitude to the late Jack Diether, to whom I dedicated the rst edition of this book, and whom I still remember with affection. He was my friend and mentor over a period of fteen years. His wife Doris has been unfailing in good sense, moral support and sense of humor. I have been greatly indebted to the late Emmy Hauswirth of the Internatio- nale Gustav Mahler Gesellschaft for her patience, hard work in supplying me with information, practical good sense, and moral support during some very trying times. I owe much to the cooperation of Dr. Herta Blaukopf, who also recently left us, without perhaps realizing how much of a role model she became for me in the latter years of our relationship after a somewhat rocky beginning. I should also render thanks to Mr. H. Nieman of the Gustav Mahler Stichting Nederland, who extended the courtesy of the Stichting’s collection in Wassenaar, The Netherlands; sent copies of many items that I could not otherwise obtain; gave generously of his own knowledge; and challenged me with many questions that raised my consciousness. My work took me to many libraries and collections in addition to those men- tioned above. In some places I located many items, in others a handful, but I am grateful for the opportunity to have visited them all, since in each one I located information that I had not found elsewhere, and every such discovery was a tri- umph. In the United States, these locations included the Library of Congress, the Ryerson and Burnham Library of the Art Institute of Chicago, the public librar- ies of the cities of Chicago and Evanston (Illinois), New York City, Boston and Seattle, the libraries of the University of Missouri (Kansas City and Columbia campuses), the University of Chicago, the University of Illinois (Chicago and Champaign-Urbana campuses), UCLA (Los Angeles) and the University of South Dakota (Vermillion), the Pierpont Morgan Library and the Center for Jewish His- tory (New York), the library of the Institute for Psychoanalysis (Chicago), and the Asher Library of the Spertus Institute of Jewish Studies (Chicago). In Europe, my work took me to the (both the original on Great Russell Street and the new and improved incarnation opened a few years ago) and the Wiener Library (London), the archive of the Amsterdam Concertgebouw, the Gemeentemuseum (Den Haag), the Osterreichische Nationalbibliothek (Vienna), the Universitäts- bibliothek in Heidelberg, the Niedersächsische Staats- und Universitätsbibliothek (Göttingen) and the Bayerische Staatsbibliothek (Munich). I am grateful for the opportunities I have had to work in all of these libraries. Above all, this book owes much of its substance to many hours of work in the Newberry Library (Chicago) and the libraries of Northwestern University, my alma mater (Chicago and Evanston). My work in the latter system really encom- passed three libraries: the University Library, the library of the Medical School

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(where I was saved from being entirely lost by several helpful physicians who probably wondered why I was there at all), and, especially, the Music Library, where the staff watched me stagger around with heavy piles of books, which they patiently put away time after time when I had nished with them. I also owe Don Roberts, who was then head of the Music Library, a vote of thanks for producing an uncataloged Italian book. Without his cooperation on that occasion, I would have had to return to Munich for it. Thanks to Steve McClatchie for last-minute intervention without which the brand new edition of Mahler’s correspondence with Anna von Mildenburg would be missing from this book. For many acts of friendship and professional assistance, I am indebted to Alexander Main, Ted and Carol Albrecht, Hans Tischler, Yu Zhigang, Lue Chan- gle, Joji Fernandez, William Porter and Theodore Karp, whom I am proud to call my friends. To Sue Taylor, Michael Steinberg, Frans Bouwman, the late Rob- ert Becqué, Li Xiujun, Eveline Nikkels, Peter Franklin, Jeremy Barham and my cousin Barbara Sopkin I owe my gratitude for their patience in listening while I worked out my ideas. Whenever I paused for breath, they injected ideas of their own. To Cynthia Davis, my “sister-in-arms,” and Jeongwon Joe, my long-time colleague and permanent roommate at musicological meetings, I don’t know what I would have done without you both. My wise colleague, mentor and friend, Henry-Louis la Grange, has been a part of my life for twenty years, and with every year our professional and personal relationship means more to me and, I hope, to him. The recent death of Dr. Stu- art Feder, who provided me with copies of his three remarkable articles, which I had not been able to nd elsewhere, laid the foundation for a great professional and personal relationship that demonstrated that practitioners of the medical and musical professions have much to offer each other. His passing soon after the publication of Gustav Mahler: A Life in Crisis (the summation of his many years of research) was a sad loss to me and to many others. The late Professor Marius Flothuis, by admitting me to conversation with him on several occasions, which were all too rare, showed me the perspective of many years in which the study of Mahler’s life and music has grown from minimal beginnings to its present rich- ness. I gratefully remember him professionally and personally. In the rst edition of this book, I noted the ne contributions of Professor Edward Reilly to Mahler scholarship. His death has left a void in the ranks of Mahler scholars. Let me now add my thanks for our personal and professional relationship, which incorporated humor, willfulness and respect for each other even when our opinions differed, as they often did. I here re-emphasize my respect for a Mahler specialist whom I hope more than ever to meet personally some day: Inna Barsova, whose untiring work in compiling a list of Russian references on Mahler (not to mention her own contri- butions to that corpus) was a touchstone of my own documentation of the wide- ranging Russian contributions to the Mahler literature. While the work I did to complement that of Dr. Barsova was anticipated to some degree by Bruno and

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Eleonore Vondenhoff, I learned in the hardest but most effective way that our Russian colleagues have written more about Mahler than is generally acknowl- edged by Western scholars. A few months after the rst edition of this book was published, we witnessed a major political upheaval in Eastern Europe that has inuenced far-reaching consequences affecting cooperation between musicolo- gists who only rarely communicated with each other in earlier years. I do not know if the rst edition of this book ever reached Dr. Barsova, but this time I would be happy to send her my updated work and, thus, assure her that her work and that of her colleagues is not unknown to Western scholars now. Donald Mitchell’s inuence on my development as a musicologist cannot be described even after the passage of many years. I have learned lessons about the profession of musicology from him that nobody else has taught me. As this book went to press, I received word of the publication of the last installment in his multi-volume study: Discovering Mahler: Writings on Maher, 1955–2005 (Boy- dell and Brewer, 2007). Mazel tov! To Zoltan Roman, my honorary “elder brother,” I owe something that cannot be classi ed—the knowledge that I could be assured of an objective, thought- ful opinion about any problem that usually revealed perspectives about my own work that I could not recognize myself. From the moment I went up to you at that meeting in Berkeley many years ago and shyly introduced myself, you have been a prop and mainstay professionally and personally. Gratitude and affection are only a small part of it. To Jeffrey Wasson, I gladly acknowledge a debt of faith in my professional growth that goes back to our days in graduate school, and I must also add that without his help, I would be writing this edition on the typewriter as I did the rst edition, rather than on a computer. To Knud Martner, I am indebted in a different way. Our professional cooperation and personal relationship resulted in a new knowledge of qualities in myself that I saw through his eyes rather than my own. My long relationship with my wise and patient mentor, Kenneth Isaacs, recently concluded, but is gratefully remembered. Special thanks to my editors, both past and present—Marie Ellen Larcada, Guy Marco and Barry Brook at Garland Publishing, and Brad Eden, Richard Carlin, Constance Ditzel, Devon Sherman, and Denny Tek at Routledge. In the last stages of writing this book, I went through a personal crisis, which I could not have survived without the moral support of my family. I love you all and thank God for you.

Susan M. Filler

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