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Sapphic Modernities: Sexuality, Women And Sapphic Modernities This page intentionally left blank Sapphic Modernities Sexuality, Women and National Culture EDITED BY LAURA DOAN AND JANE GARRITY SAPPHIC MODERNITIES © Laura Doan and Jane Garrity, 2006. All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. First published in 2006 by PALGRAVE MACMILLAN™ 175 Fifth Avenue, New York, N.Y. 10010 and Houndmills, Basingstoke, Hampshire, England RG21 6XS Companies and representatives throughout the world. PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN-13: 978–1–4039–6498–4 ISBN-10: 1–4039–6498–X Library of Congress Cataloging-in-Publication Data is available from the Library of Congress. A catalogue record for this book is available from the British Library. Design by Newgen Imaging Systems (P) Ltd., Chennai, India. First edition: June 2006 10987654321 Printed in the United States of America. To Karen and Mar, partners and editors extraordinaire This page intentionally left blank Contents List of Illustrations ix Introduction Laura Doan and Jane Garrity 1 Part 1 Sexual Geographies: Circulation and Mobility Chapter 1 The Sapphist in the City: Lesbian Modernist Paris and Sapphic Modernity 17 Joanne Winning Chapter 2 Romaine Brooks and the Future of Sapphic Modernity 35 Tirza True Latimer Chapter 3 “The Woman Who Does”: A Melbourne Motor Garage Proprietor 55 Georgine Clarsen Part 2 The Sapphic Body in Space: Leisure, Commodity Culture, Domesticity Chapter 4 Sapphic Smokers and English Modernities 75 Penny Tinkler Chapter 5 “Woman’s Place Is the Home”: Conservative Sapphic Modernity 91 Laura Doan Chapter 6 Art Deco Hybridity, Interior Design, and Sexuality between the Wars: Two Double Acts: Phyllis Barron and Dorothy Larcher/Eyre de Lanux and Evelyn Wyld 109 Bridget Elliott viii Contents Part 3 In and Out of Place: History, Displacement, and Revision Chapter 7 Impossible Objects: Waiting for the Revolution in Summer Will Show 133 Heather K. Love Chapter 8 Virginia Woolf’s Greek Lessons 149 Colleen Lamos Chapter 9 “A Sudden Orgy of Decadence”: Writing about Sex between Women in the Interwar Popular Press 165 Alison Oram Part 4 Embracing Discursive Space: Re-Imagining Psychoanalysis and Spirituality Chapter 10 Edith Ellis, Sapphic Idealism, and The Lover’s Calendar (1912) 183 Jo-Ann Wallace Chapter 11 Séances and Slander: Radclyffe Hall in 1920 201 Jodie Medd Chapter 12 Telling It Straight: The Rhetorics of Conversion in Elizabeth Bowen’s The Hotel and Freud’s Psychogenesis 217 Petra Rau Chapter 13 Mary Butts’s “Fanatical Pédérastie”: Queer Urban Life in 1920s London and Paris 233 Jane Garrity Notes on Contributors 253 Index 257 Illustrations I .1 Beresford Egan, “Sappho and the Latter-day Adolescents,” The Sink of Solitude, 1928 2 2.1 Romaine Brooks, Self-Portrait, 1923. Credit: Smithsonian American Art Museum, gift of the artist 36 2.2 Front Cover, Romaine Brooks: Portraits, tableaux, dessins, featuring the artist’s 1923 self-portrait 39 2.3 Back Cover, Romaine Brooks: Portraits, tableaux, dessins 42 2.4 Romaine Brooks, Le Temps sépare (Time Divides), c.1930, reproduced in Romaine Brooks: Portraits, tableaux, dessins 45 2.5 Romaine Brooks, untitled self-portrait, c.1938. Credit: The Beinecke Rare Book and Manuscript Library, Yale University 47 2.6 Gerda Wegner, “L’Etérnel ménage à trois,” published in Fantasio, 1926 50 3.1 Alice Anderson, Motor Mechanic, Home, December 1, 1920. Courtesy National Library of Australia 61 3.2 Staff at the Kew Garage, Home, December 1, 1920. Courtesy National Library of Australia 62 3.3 Alice pretending to be the “boyfriend” of a polio victim she had taken on an outing. Courtesy Anderson family 68 6.1 Photograph by Dietrich Hanff of a corner of Phyllis Barron’s study at Hambutt’s House, 1964 © Crafts Study Centre 113 6.2 Jacket worn by Phyllis Barron © Crafts Study Centre 113 6.3 Barron and Larcher, a corner of the Combination Room at Girton College, Cambridge, with curtain and cushions by Dorothy Larcher, standard lamp by x Illustrations Eric Sharpe and table by Fred Foster, c. 1934. Courtesy of Girton College Archives 115 6.4 Eyre de Lanux and Wyld, Baie d’un studio au 49e étage, with a glass table by Eyre de Lanux and rug by Evelyn Wyld, Salon des Artistes Décorateurs, 1928. Courtesy of RIBA 116 6.5 Functionalist Interior from Osbert Lancaster, Homes Sweet Homes (London: J. Murray, 1939) 118 6.6 Modernistic Interior from Osbert Lancaster, Homes Sweet Homes (London: J. Murray, 1939) 119 Introduction Laura Doan and Jane Garrity The significance of modernity is clearly not exhausted. ––Rita Felski Modern Sappho In late 1928 the artist Beresford Egan produced an astonishing Beardsleyesque illustration of a modern Sappho, in which the icon of sexual love between women floats with grace and elegance above two stolid and grotesque creatures of ambiguous gender (fig. I.1).1 Sappho’s hyperfeminine beauty, as marked by her lithe, slender yet curvaceous body and swirling, arabesque movements, stands in sharp contrast to the “she-male” monsters who lurk beneath her, gazing haplessly at this modern incarnation of the sapphic spirit. The occasion that inspired this drawing from a lampoon entitled The Sink of Solitude was the British government’s successful prosecution of Radclyffe Hall’s novel, The Well of Loneliness (1928), for obscene libel, an event that would drag the subject of lesbianism out into the open, where it would play on the lips of “millions of shop, office, and mill girls.”2 Egan’s provocative drawing of a modern Sappho seems a good starting point to introduce a project that aims to show how the sapphic figure, in her multiple and contradictory guises, refigures the relation between public and private space within modernity. In much the same way, this essay collection seeks to explore the powerful allure of the sapphic in the cultural imaginary as well as in cultural production and to demonstrate evidence of the profound shifts—in terms of visibility, intelligibility, and accessibility—that occurred as a result of the growing public awareness of sapphism in modern Anglophone cultures between the two World Wars. One of the first scholars to recognize the “multiple meanings” conveyed by the word “sapphic” was Diana Collecott, who observed that it embraces 2 Fig. I.1 Beresford Egan, “Sappho and the Latter-day Adolescents,” The Sink of Solitude, 1928. Introduction 3 “aesthetics and intersubjectivity as well as sexual practice, with all that these involve for women in a patriarchal culture.”3 We contend that “sapphism” is a useful term in that it distances us from the more rigid contemporary cat- egories of identity, such as “butch” or “femme,” and reminds us that the claiming of a sexual identity—indeed, the exclusive connection of Sappho with same-sex desire—is relatively recent. The term “Sapphist,” according to the Oxford English Dictionary (OED), denotes women who have a “sexual interest in other women” or who engage in “homosexual relations between women.”4 The OED tracks the earliest entries for this term to 1890 (National Medical Dictionary) and the Lancet (in 1901), and we do know that the term “sapphist” did not enter the language until around that time in the writings of sexologists. Hence, our sense that the emergence of the sapphic within modernity is bound up with the circulation of medical and sexological knowledge in the late nineteenth and early twentieth centuries, with the publication of works such as Richard von Krafft-Ebing’s Psychopathia Sexualis (1886) and Havelock Ellis’s Studies in the Psychology of Sex, vol. II Sexual Inversion (1897), to name two studies that were most influential in identifying the category of “sexual inversion” in Britain and North America.5 One salient example of sapphism’s engagement with the discourse of inversion that helps us to understand the ways it came to be associated with modernity occurs in the remarkable work of Olive Moore, a scandalously underread English modernist whose writings have been described as a cross between Virginia Woolf and Djuna Barnes, but with a more biting wit. In her second novel, Spleen (1930), an Englishwoman, Ruth Dalby, returns to London from Italy in 1929 where she encounters the postwar “new young woman” embodied by Joan Agnew.6 Joan’s “independence” and “self- expression” radiates a “certain glamour,” but Ruth condemns this androgynous “look of today” as a transient cultural novelty. Ruth is “shocked” by her exposure to this “emancipated woman [who] wanted no children,” even though she herself is guilty of this “monstrous” crime. Indeed, it is Ruth’s guilt over her revulsion to maternity that leads her to believe that her son’s deformities are the result of her own reluctance to reproduce. Ultimately, Moore borrows from the language of sexology to convey Ruth’s predicament, describing her as “lonely as an invert.” Throughout the novel Moore provides us with ample clues to mark Ruth as sexually deviant: she identifies with her father and values the intellect above all else; she detests her female corporeality; and she exhibits no heterosexual desire or impulses. Although Ruth does not identify with Joan, Moore’s articulation of her sexual “difference” suggests that the invert is a kind of prototype for the new woman: “For surely (she thought) it was a form of mental inversion this loneliness of hers among her 4 Laura Doan and Jane Garrity fellow-creatures.” Here, “inversion” is not a physical malady, but a condition of being modern.
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