07 GLEZ&RGUEZ.pmd PALABRAS enlasprimerasdécadasdelsiglo desarrollaron sutalentoartístico esaunarlasautobiografíasdedosmujeres excepcionalesEl objetodeesteartículo que RESUMEN family life,art. KEY Anderson, theeditorof Margaret C. talentsinthefirstdecadesof20thcentury: who developedtheirartistic The purposeofthisessayistobringtogethertheautobiographiestworemarkable women ABSTRACT espacios, familia,arte. temporáneas. diera explicarelporquéambaspresentaron unmodelodemujerdiferentealsuscon- mala administracióneconómica.Su pu- ylabelleza anheloconstanteporalcanzarelarte ples viajes—ambasseembarcaron enunviajeaEuropa quelescambiólavida,yensu nera especialenunaactitudpeculiarhacialoslugares ycasasquehabitaron, ensusmúlti- domesticidad diferente alquecabíaesperar en laépocavictoriana.Estoseapreciadema- de vidafamiliarquepredominaban ensusociedad,locuallesllevóareflejar unmodelode elrechazo aloscánones independiente antelasconvencionessociales,ambascompartían textos autobiográficosdemuestraqueademásdesercoetáneasymostrarunaactitud la editorade model ofwomanhoodfromthatthewomentheirtime. andbeauty,was aconstantlongingforart whichmayexplainwhytheypresent adifferent barked onalife-changingjourneytoEurope, andintheireconomicmismanagement. Theirs wards theplacesandhousestheyinhabited,intheirmanifold travels—bothofthemem- expected by Victorian standards. This isespeciallyreflected attitudeto- intheirparticular amodelofdomesticityquitedifferenttothat ons offamilylifewhichledthemtoportray ent attitudetowards socialconventions,bothwomenshared arejectionofestablishedcan- analysis oftheirlifenarrativesshows how, beyondtemporalcoincidence,andanindepend-
WORDS
MARGARET ANDERSONANDISADORADUNCAN, CLAVE : Margaret C.Anderson,Isadora Duncan, autobiography, domesticity, spaces, The Little Review : Margaret C.Anderson,Isadora Duncan, autobiografía,vidadoméstica, R TWO UNDOMESTICATED ART LOVERS EVISTA “HOME IS WHERE THE (HE)ART IS”: C 105 The Little Review Dulce María Rodríguez González ANARIA , eIsadora Duncan, lainnovadora bailarina.El análisisdesus
DE Universidad deLaLaguna Isabel Díaz González E STUDIOS , andIsadora Duncan, theinnovative dancer. The I NGLESES , 58;April 2009,pp. 105-118 XX 06/05/2009, 9:45 : Margaret C.Anderson,
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ISABEL GONZÁLEZ AND DULCE RODRÍGUEZ 106 part atextcontainingpersonalreflections love,part onart, andlife. tions, evidencedinthewaytheirlivesunfolded;acompulsiontotravel inorder to women share, amongotherthings,anindependentattitudetowards socialconven- different,Although theirlifestories,aswellnarrativeswere both very original andusefulasart” (67). Magazines &Literary History not flourishedinthiscountry” (qtd.Marek 67).In herbook, appreciation. This functionofthesunandmoonisknownascriticism.But has criticism asanart regarded asart:“...thetidesof artwouldceasetoebband Europe andherrelationship withGeorgette Leblanc,and expression:forms ofartistic editing, outdiverse were thesocio-culturalscenarioinwhichbothwomenwere tocarry direction goingfrom theNew World totheOld Continent. Those changingtimes order” (Reynolds 39),thesetwowomenembarked onajourneyintheopposite class, marriage,oftherolewoman)were beingdissolvedbyarapidlychanging transformed intoamore cosmopolitansocietyandthe“old (of Victorian certainties than atfirstappears. loverslife narrativesshows art havemore thattheseearly20th-entury incommon in lifesuggestmoresimilaritiesthandifferences. Certainly, aclosereading oftheir beyond temporalcoincidence? Their artisticendeavours andtheirpersonalstance women editors founded the literary magazine founded theliterary War the firstofthree autobiographicalbookswrittenbyAnderson, using differingapproachestowritetheirlives. In thepresentessaywe willanalyse endeavoursbutalsomadeanincursionintothefieldofautobiography,their artistic times inSan Francisco andlaterinChicago. They notonlydevotedthemselves to 2 (1930),andDuncan’s posthumouslypublishedautobiography, 2 1 At theturnof19thcentury, whenAmericawasbeingreshaped and Do Margaret AndersonandIsadora Duncan have anythingincommon Andersonwouldpublish In The Little Review , andDuncan ofdancingfromherearly wasaninnovator intheart 106 , Jayne E. Marek infersthat“critical writing[forAnderson]couldbeas , Andersondefendedtheideathateditingandcriticismshouldbe The Fiery Fountains The Little Review 1 writing,music,anddancing.Anderson,who I havenoplaceintheworld—nofixed position. Writing itselfisspace.It isapopulatedhouse. I certainly wasnotsuitedtodomesticlife. I certainly in1951,givinganaccountofherlife The Strange Necessity flow were itnotforthesunandmoonof inChicago,wasoneofthefirst Women Editing Modernism: “Little” 06/05/2009, 9:45 Margaret C.A in1962,forthemost MyYears’ Thirty My Life Isadora D Nancy M NDERSON (1927). UNCAN AIRS 07 GLEZ&RGUEZ.pmd longing for art andbeautywhichbecamea“lighthouse”longing forart intheirlives. mesticity; andeconomicmismanagement.Above all,theyshared aneverpresent inhabited; arejection oftheestablishedcanonsfamilylife,moving beyond do- implies change” (233);aspecialattitudetowards thespacesandhousesthey horizonssee new andtoexpandtheirideas—asAndersonaffirms,“movement lighthouse inFrance, whilstitcanalsoberead asaprojection ofhercontinuousquestforart. which isanallusiontotheperiodoftimewhenshelivedwith Georgette Leblancinanactual interesting commentwhenshesays:“Inolongerlookoutuponalighthouse.Ilive inone” (274), not onlythrough,butalso ofherlife”whole truth (8). Yet, thanthat,reading Andersongoesfurther herlife as shebelievesRousseau did,forwhichsheaffirms:“no womanhasevertoldthe acknowledgment ofhersoul, ofherincapacity—asawoman—towritethetruth made bytheautobiographersofhertimeaboutaimingattruth,plusaspecific Duncan’s text,forinstance,presentsnumerous allusionstotheusualreflections used totellstories:“she reads herlifethroughreadings ofotherlifestories” (5). courses ofidentitycirculating aroundher, aswellthenarrative framescommonly explain how shenegotiates thecultures ofsubjectivityavailable to her, thedis- awareness ofafemaleidentitywhichwillnotconsenttobeingeasilygrasped. What she hasnoplaceintheworld,“no fixed position” (4),whichstandsoutasanearly myth, likeIsadora Duncan” (12-13).In thefirstchapter, Andersonalsostatesthat their narcissism:“Anderson isaprimeexampleofwoman caughtupinherown the expenseoftangibleaccomplishments,”linkingbothAndersonandDuncan in to argueaboutsomewomen’s tendency“to glorifythemselvesintheirown mindsat The Little Review ent dimension. Yet, Michelle E.Green aboutAndersonand pointsoutinanarticle about thekindofautobiographertheyare abouttomeet:onewholivesinadiffer- years”successfully forthirty (3). This statementappearsasawarningtoherreaders which sheseemstobewinning:“My greatest enemyisreality. Ihave foughtit as anepigraphtothefirstchapter, shereveals battles, oneofhermostimportant narrative makesreference toherbelligerent attitude.Atthebeginningofhertext, isnowonderthatthetitleofher on totellofhervariousfightsandstruggles—it suppressed bythosewhocannotacceptexceptional orinspired people(3),shegoes ing inthefirstparagraphthatbookisarecord ofherrefusals tobecornered or inwhichshehappenstobetheprotagonist.Acknowledg- artefact creating aliterary butwhoismerely not concernedaboutherpastmemories,ortellingthetruth, biography shouldread. She presents herselfasanimpersonalnarrator, onewhois terms inwhichhercontemporarieswere writingthemselves. a typeofdiscoursewhere shewouldnotallow herselftobedefinedinthesame because shewasaware of thediscoursesofidentitycirculatingaroundhershewrote In talkingaboutthewomanautobiographer, Sidonie Smith andJulia Watson 3 Anderson’s narrative couldstandasanexample ofhow amodernistauto- In thefinalparagraphoflastchapter thatPatricia Meyer Spacks usesprecisely thisquotefromAnderson 107 against herreadingsofotherlifestories. That istosay, My Years’ Thirty War 06/05/2009, 9:45 Andersonmakesan 3
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ISABEL GONZÁLEZ AND DULCE RODRÍGUEZ 108 relationship (6-8).Andersondoesnotmentionherlove forLeblancin falling inlove withtheFrench actress-singer GeorgetteLeblancwasthebeginningofendtheir explains how Jane’s jealousybecameatroubling aspectforbothofthem(4),andhow Margaret’s Mathilda M.Hills gives aninteresting accountoftherelationship between AndersonandHeap. She human dedicatingthebooktoheras“theimportant, onlyhumanbeingIhaveknown whohasnoneofthe although shedoesintroduceandbrieflydescribeher, talkingoftheiractivitiestogether, and,most of theiremotionalinvolvementandsubsequentpartnership. mention ofthelove theyshared, eventhoughthereaders graduallybecomeaware which ispresentedasoneofprofound intellectualadmiration,withnospecific One ofthemostoutstandingexamplesisthatherrelationship withJane Heap, emotions whichwouldrender hertextsomethingotherthanamodernistartefact. “Being really solicitousabouthumandevelopment,Jane sometimesfoundthisim- logues inwhichtheywere shows: always engaged,asthisilluminatingassertion Heap’s perceptionofherpersonalityandattitudes,throughtheceaselessdia- be toopersonalmakesAndersonpresent ofhertextthrough herselfinvariousparts woman ofhertimewouldtell: means ofpreventing a her readers from expectingtofindtheusualkindofstory follows isadescriptionofherselfintermswhatshenot,whichseemstobe famous dictums, actually taken from an article byfamous dictums,actuallytakenfromanarticle Jane Heap in which thewholebookrevolves, people shemetintheearlyyearsof in whatappearstobeasuffocatingfamilyatmosphere, andtalksabout themany to embody. assigned pre-defined rolestowomen,sheispresenting therolesshewasnotwilling going againstthepre-established patterns ofthoughtaconventionalsocietywhich Furthermore, inchoosingtodefineherselfthroughnegation,whichactuallymeans thatsheisnotgoingtodefineherselfinthoseterms. making clearfromthestart emotions oflifeistolive; toexpress thelifeofemotionsistomakeart” (148). bêtises 5 4 Anderson doesdescribesomescattered episodesofherchildhoodandyouth All thosehumancategoriessherejects havetodowithfamilyrelations, man’s delightfulmistress, andIwillnever, never, neverbeamother. (4) don’tnephews findmeconvincing;soI’m notanaunt.Iamnoman’s wife,no niece; (...).Icouldalmostbecalledanaunt(noonewoulddare), butmytwo a littlemad,andthatisnobasisforsisterlyrelationship. nota Iamcertainly mother rejected melongago. Iamnotasister:mytwosistersfindmemore than aunt, wife,mistress ormother. Iamnotadaughter:myfatherisdeadand inevitably intooneormore humancategories—issomeone’s daughter, sister, niece, But suchahumanbeingfalls appear tobeafairlyattractivewomaninherthirties. I don’t know justwhatkind ofthingIam.Nobody elseseemstoknow either. I In theIntroduction tohereditionofMargaret C.Anderson’s novel, To appreciate mentioningoneofher whatthisprojectmeanttoAnderson, itisworth .” 108 4 yetshedoesnotreachthepointofshowing any The Little Review , the artistic/life projectaround , theartistic/life The Little Review 06/05/2009, 9:45 My Years’ Thirty War 5 In fact,thatrefusal to : “To express the Forbidden Fires either, , 07 GLEZ&RGUEZ.pmd temporal sequenceinhisown bookwhen heaffirms: carelessness inmakingreference toplaceandtime,realizes thathefailstokeep a her friendandbiographerSewell Stokes, “contaminated” byDuncan’s apparent studios, museums,manorhouses,orpalaces,tomentionbutafew. Accordingly, multiple spacessheoccupiedsuchas:cattleboats,yachts,benches,hotels,tents, ral references; yet, shepuzzlesherreaderswithanoverwhelming accountofthe (472).Subverting phallocentricdiscourse,Duncan hardly everofferstempo- tion’” phallocentric discourseingeneral)—thatis,‘logicalcoherenceandrationaliza- ‘original sinofautobiography’ (and,onemightadd,theoutstandingfeatureof elements inmyexperience,IattempttoavoidwhatGeorgesGusdorf calls[...]the of women’s lifenarratives:“...inemphasizingthespatial ratherthanthetemporal which Nancy Mairs, whentalkingaboutherown work,perceives asacharacteristic in it,butalsobecauseofheremphasisonspatialratherthantemporalreferences, only becauseofthe“omissions andinaccuracies” (Blair xiv)manybiographersfind honestautobiographershementionsseveraltimesinhertext,not the truthfully of thoseevents.Ironically toemulateRousseau, enough,sheseemedtofailintrying journey thatIsadora’s lifebecame,buthardly evergivingdatestocontextualize any oftheglobetoanotherinendless anecdotes whichtakereaders fromonepart about temporalreferences. “California,” “New York,” and“Paris”) concerned andyet,itisnotparticularly through sixchapters(“My Thirty Years’ War,” LittleReview,” “The “Jane Heap,” logical accountofevents;Anderson’s wellorganized,structured narrativeisvery such atextwouldnotbeconcernedwithproviding itsreaderswithastrictlychrono- aimedatcreating. Furthermore,—a textasimpersonalthisperformer-writer be anotherwarningtoherreaders aboutthekindoftexttheyshouldexpecttofind (187). This personality ofminediscouraging.But Iameternallyinterestedinperformance” never mentionsit,andyetmaintainsabelligerentattitude towards thatinstitution One isthatdespitethefactshehadoncefalleninto “the trap” ofmarriage,she omissionsinDuncan’sto twoimportant text,sincetheyare relevanttoouranalysis. critics ofautobiographysomeyearsago,butwethinkthat wemustdrawattention “police thetruth” ofourautobiographers,asLeighGilmore wiselywarnedfeminist ward manner:“becauseIneedthemoneysobadly” (35).It isnot ourpurposeto when askedbyStokes whyshewaswritinghermemoirs,answering inastraightfor- state— orsharinghergriefatthedramaticlossofchildren. She wasalsoexplicit ing herreaders ofhernumerous love affairs—afteralongerthanusual virginal Such isalsothecaseofIsadora Duncan’s narrative, fullofmemoriesand In contrasttoAnderson,Duncan doesshow heremotionsin countries andinminutes.(18) big enough(...)tobeunconsciousofspaceandtimeastheyare reckoned with, in thing oneconsidered inanyexperiencethathadtodowithIsadora. Her mindwas sequence inthisstory. Perhaps thatisbecauseasequenceofanykindwasthelast As Iwrite,realize paragraphsIhavefailedtokeepany thateveninthefirstfew fragment notonlyshows Jane’s appreciation ofher, butalsoseemsto 109 06/05/2009, 9:45 My Life , tell-
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ISABEL GONZÁLEZ AND DULCE RODRÍGUEZ 110 journey started earlyinherlife travellingacrosstheStates; itcontinuedinEuropejourney started In person” some waystheseoldthingsmademeanew (265).For Duncan’s herpart, what theoldcivilizations,races,countries,climates,landscapeswoulddoforme. these yearsIstayedinEurope —chieflyinFrance andItaly. Iwantedtofindout the New World. Andersonmakesclearherreasonsforcrossingtheocean:“During from thesourcesofOld ContinentbutalsotoshedinEurope thefresh sapof freedom notonlytodrink fromdomesticconstraint,givingthemtheopportunity its positioninrelation toactingorbeingactedupon” (270). Travelling gavethem lifeisdeterminedexclusively by “Ihavefoundout thatthequalityofevery asserts, times; womenwhowere notacteduponbutwere themselves acting.AsAnderson land”, free ofthepatriarchalimpositionsthatusuallyparalyzed womeninthose ideas onhomeanddomesticity. Bothwomenseemedtohave livedin“no man’s by theircompulsiontomove fromplacetoplace,andwhichreflecttheirpersonal on theirspecificrelationships tothespacestheyinhabitedconditioned,somehow, from herinitialdiscourse. command ofwhatshereveals orconcealsfrom thereaders thanmightbeexpected autobiographer,truthful theseexamplesshow thatDuncan seemstobemore in of itisgoingintothememoirs” (121).In spiteofherallegedintentiontobea time. The storiesIcouldtellyouaboutourlifetogether. Such astrangelife.None my Millionaire. He wasagreat influenceinmylife.Ilived withhimforalong with Duncan onherrelationship withSinger where hewastold,“You don’t know millionaire Paris Singer. In fact,Stokes makesreference toaconversationheheld Lohengrin, toreferherlover, andfatherofhersecondchild,thesewing-machine throughout hernarrative ganization. and unrestrained movements, shefoundherselfaprisonerofherown chaoticdisor- incapacity todealwitheconomicmatters.Afteranomadiclifeofabsolutefreedom the hotelNegresco inNice, whichcametobeherlast“home”, victimofhertotal sion istheironythatwhileshewaswritingherautobiographysecludedat numerous assertionsthatrevealheroppressive notionofmarriage. The otheromis- alltheconsequences”tract andthengoesintoitdeserves (138),areonlytwoofthe cipation ofwomen” (19),or, “Any intelligentwomanwhoreads themarriagecon- reason why shecouldnotleave,forhadnomoneytomeetherexpenses(61). Riviera, pretending thatshewouldbeableto paythebillwhensheleft—whichwasprecisely the the Negresco. Recklessly, shehadmadethedecisiontostayatmostexpensive hotelonthe institution shesomuchdespised. life wouldnever suspectthatthis“preacher” againstmarriagewouldever havesurrendered tothe (Wood 331-362). Areader herautobiographyastheonlysourceofinformationabout trusting —forbureaucratic reasons—meet, marry afterdivorce andshortly theRussian poetSergei A.Esenin her unexpecteddeath. The finalchapterleaves inSoviet herasshearrives Russia, where shewould Having introduced Anderson’s andDuncan’s lifenarratives,wewillfocus 7 6 Sewell Stokes recalls inhisbiographyofDuncan herconfessionthatshefeltinprisonat It mustbeacknowledged thatDuncan’s by autobiographicalenterprisewasinterrupted 7 To omissions,we theseimportant mustaddtheuseofapseudonym, 110 6 : “Iwouldlive tofightagainst marriageandfortheeman- 06/05/2009, 9:45 07 GLEZ&RGUEZ.pmd houses, soIexaminedthisonethoroughlyandfoundit wastheidealhome” (99- should liveinit(...). There isalways adelicatewayofbreakingintoabandoned romanticismthatitoccurredupon anemptyhouse(...)ofsuchaperfect tomewe “the mostsympathetic houseanyonehasever seen”, inHighland Park: “Icame inspired herintellectualhunger. This isherdescriptionofthemomentshefound towards houses,onherimpulsetosettleimmediatelyinabandonedhouseswhich Indeed, atmanypointsinherautobiographyAndersoninsistsonattraction rooms, Brookhaven, andfelt thathere atleastitwouldappearlessexcessive” (242). rience: “Ithoughtofmyexcessive interest indiminutiveranch-houses,tents,gold lover GeorgetteLeblanc’s sisterlivedin“the castle” mostfabulousfairy ofherexpe- to liveinmanifoldplaceswhenshediscovered, onherarrival inFrance, thather landscapes. ing toliveon” (157),seemstohave alwaysbeeninthebackgroundoftheirpersonal Anderson onceexclaimed: “We now hadanenchantingpalacetoliveinandnoth- austere environments;notwithstanding,theirlove forhouses,villasorpalaces–as These experiencesshow thecapacityofthesetwowomentoenjoy oradaptto refugees” ledhertolong“for thefeelingofPersian carpetsbeneathmyfeet” (202). lived inatentbythesea(201),although“the represented by theAlbanian misery him inAlbania,where hewasworking amongrefugees. Duncan describeshow they console herinsorrow afterthetragicdeathofherchildren, askedhertojoin Duncan foundherselfimmersedinasimilarsituationwhenherbrother, inorder to our puttinguptentsandlivingthepristinelifeofnomads?”(86).Significantly, obstacle? Wasn’t campingapassionwithallsensible people? What wastoprevent onlylackwastheresidence. Butshe wouldcomment:“The wasthisanessential months. Onthisadventure, describedas“the most lyrical” monthsinherlife(89) her lover, hersisterandtwonephewsonacampingexperiencewhichlastedsix she had“an intuition[thatshe]nolongerneededahouse” (88),embarkingherself, Interestingly enough,inhernarrativeAndersonrecalls how atonepointinherlife placewithaspecialinterestThoreauvian inhouses. lackofattachmenttoaparticular yond theboundariesmarkedbyPuritan codesofsettlement,alternatingthe present inthetwotextsunderanalysis:bothAndersonandDuncan hadgonebe- psychic costsof‘civilization’ anddomestication” (4). This tensiondoesseemtobe (...), ortheboundlesssea,”whichsheconsidersa“conflict over thetremendous the romantic imageofthehomeless,rootless,nomadicherowhoseroof isthesky sion presentinAmericanculture “betweentheproject ofbuildingasettlementand Fiction (65). the Beauty andHoliness ofthehumanbodythroughitsexpression ofmovements” the greatrenaissance ofreligionthroughtheDance,tobringknowledge and intentions ontravellingtoEurope asfollows: “IhadcometoEurope tobringabout search onmovements that,according toher, didnotexistbefore. She resumed her typeofdance,theresultimpressed innumerableaudienceswithanew ofherre- where shewasnourishedbytheclassicaltraditionofGreece andItaly, whileshe inwhichsheanalyzes spaceandsettlement,pointstoacharacteristicten- Bestriding different typesofsettlement,Andersonpondersonher capacity Marilyn R.Chandler, inherbook, 111 Dwelling inthe Text: Houses inAmerican 06/05/2009, 9:45
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ISABEL GONZÁLEZ AND DULCE RODRÍGUEZ 112 warmth, an image evoked in manifold literary works. Lookingmorewarmth, animageevoked closelyatthe inmanifoldliterary is asanctuary, aplaceofsafetythatcanalwaysbereturned to,aplaceoflove and ings forwomen. Traditionally, there hasbeenthenotionorexpectationthat“home” mean- writers, andfeministcriticsalike,becauseofitscomplex andcontradictory psychological, ormetaphorical,hasbeensuch a richsource ofinterestforwomen highly chargedissuefortheoristsandartists” (3).Space, beitphysical,emotional, that spaceis“an ideologically weighted‘product’,” andthattheideaofspaceis“a ofspaceandpower. ofspace,andthecloseintertwining portance Chandlerstates seemed tohave beenherfate. Kopanos, (250). amuchcherishedoldplacewhichshealsofoundinruins That adversity; onceagain,shetriedtofoundherschoolofdance,thistimeinGreece, in sibility torecover happiertimes.Nevertheless, Duncan never gaveupinthefaceof whole situationcouldbeinterpreted asasymbolofherdestroyed life,oftheimpos- butthelackoffundsmadeitan“impossibletask”rebuilding theruin, (249). The distress thatitwas“falling intoruins” (249).Duncan, likeAnderson,thoughtof incredible placewasdamagedduringthewar, andcomingbacktoitshefoundwith her schoolwassettled,Bellevue,inFrance, wasamongthemostoutstanding. This which sheusually, miraculously, managedtoovercome. Of allthelocationswhere places, shewasconfrontedwithinnumerableobstacles,economicandotherwise, inher innovativetended toinstruct ideasondancing.In hersearch fortheright nomadic schoolneededaphysicalspacetoshelterthetroupeofchildren shein- went, beitBerlin, France, England,theUnited States, Russia, orGreece. This mind sinceherearlychildhood(16),adreamshetookalongwithwherever she fixe this roomthe take place.It wastobeaspecial,haunting,poignant,dedicatedroom.It was.In intellectual needs:“It wastobearoomwhereall would exclaim (185).AndersonandHeap tailored theirroomsaccording totheir places, whichsheloved toreconstruct: “it’s therebuilding thatattractsus!”,she a house;itwashardly astructure” (184-185). This shows herfascinationforruined later on,inNew York theycameacross,again,asmall,abandonedhouse,“It wasn’t for theeditorialtandemtothrive.If thiswastheirexperienceonthe West Coast, was “old, simple,homely, isolated,sympathetic” place deserted, (117),theperfect found perfection” (117). The ranch-housetheyfinallyencountered andreconstructed lives uponit.Ifyoucanfindanabandonedhousewithastragglinggarden you’ve consider anyenvironmentthatlooksnew. There mustbeanatmosphere ofother proper housewhere theycouldhave“good conversation” (117):“You mustnever Heap, theydecidedtogoCalifornia. This time,theywere alsolookingfora 100). This “hunting” forabandonedhousescontinuedwhen,afterhavingmetJane crity. could bereadasadesire tocraftadifferent wayoflife,awayfrombourgeoismedio- family life,thatshesomuchresented, andherurgetorebuild housesandrooms housesmightbesymbolicofthe“ruins”session withabandoned,ruined ofherown ” (137)—thefoundingoftheschooldancewhichhadbeenengrainedinher Postmodernist andfeministcriticismhascommentedwidelyupontheim- Anderson’s excessive interest inhousesfindsitsparallelDuncan’s “ Little Review 112 entered intoitscreative period” (152).Anderson’s ob- Little Review 06/05/2009, 9:45 conversation would idée 07 GLEZ&RGUEZ.pmd which highlightedtheClanDuncan’s impracticalviewof life. This peculiarvision tic ofus” (91)— inKopanos, anenterprisewhichproved tobeimpossibleand in theirpreposterous dreamtobuildaGreek temple—“that shouldbecharacteris- seen intheirnumeroustranscontinentaljourneys. This togethernesswasprojected encouraged herchildrentoleadafree, nomadiclifetheevidenceofwhichcanbe and withacultivatedsupportive motherwholoved andplayedmusic, tive thanAnderson’s: theDuncans were raisedinahousehold withanabsentfather, sufficient” (93,95).Small wonderDuncan’s perceptionoffamilylifeismore posi- by hermother, sister, andtwobrothers—whichsheinsistentlydefinedas“self- reject herfamilyupbringing:sheproudlyspeaksofthe“ClanDuncan” —formed “I likedhousesanddislikedmyfamily” (7).For Duncan herpart, doesnotseemto ents, andthisisclearlyexpressedinherautobiographywhensheconfessesbluntly: In Andersonrejects thebourgeoisfamilymodelsheinheritedfrom short, herpar- that homemaynotonlybeaspaceofempowerment butalsoaplaceofdiscomfort. content isnottobesearched afarbuttobefoundrightinthehome” (10),proving Anderson, whoarrivedatthedisappointingconclusionthat“the Blue Bird ofdis- outwhohadthepower.sorting Hence, familyrelationshipswere noteasyfor —hers ofsuppression ormineoffreedom” (65).Mother anddaughterwere atwar ultimatum whichforcedthedecisionabout“which ourhouse policywastorule rebellious attitude,whichreached its breaking pointwhenhermothergave heran of “everything Ifoundimmoralinthefamilysituation” (12);thisisevidenceofher nicebutrevoltingshe asked“how aperfectly girlcouldleavehome”, addingalist advisor ofyounggirlsinthe“obnoxious” magazinethe family. Onerevealing exampleofthisattitude canbeseeninherlettertothe gives different accountsofherearly, almostprecocious eagernesstoconfronther of theconcepthome—onewhichdivergesfrom conventionalpatterns.Anderson two narrativesunderanalysis,revealing theperception bothautobiographershad spaces. of herlife,neveracceptedtheattemptslovers toincarcerate herindomestic tive. Duncan, whodidnotfeeltheoppression offamilyrelations intheearlystage period inherlifeshow how produc- privatespacescanbeliberatingandartistically but shesoonreleased herselffromthisconstraint;thespacesshecreated afterthat environments. Andersonfeltthatsenseofimprisonmentinherearlyfamilylife, the reconfiguration oftheirfamilialdomesticspacesandtheopeningupnew tings, breakingdown theassociationbetweenthemselves andthehome through (Chandler 6).Nonetheless, womenwouldwanttoescape,intheirlives andwri- after all,embodiments—incarnationsthatthreaten tobecomeincarcerations” or constrainingspaceswhichmightconvey asenseofimprisonment;“[t]heyare, on thecontrary, theycanbetransformedintospacesoffreedom —liberatingspaces private spacescanprovide abackdroptorelationships of power anddependenceor, culturallocations.Indeed, historicalmoments,andincertain women atparticular Spaces suchasthedomesticsphere andconfinementfor maysignalfrustration seen asaplaceof“safety, warmth,andlove” butalsoasoneofempowerment. evolution oftheconceptspace,itisevidentthatprivatespacecouldnotonlybe Undoubtedly, personalspacesandfamilylifeare inthe deeplyintertwined 113 Ladies’ Home Journal 06/05/2009, 9:45 , where
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ISABEL GONZÁLEZ AND DULCE RODRÍGUEZ 114 be housekeeper[...],leavingmytimefree foreditorial(anarchistic) writing.Iplayed when sheexplainshow intheir“organized domesticity” hersisterJean “decided to her fromdedicationto thosehouseholdchoresAnderson reliedonotherstoperform thatwoulddistract at thedawnof20thcentury. Domesticity, therefore, wouldnotbetheirlot. to thosespacespointchangingattitudesabouthow awoman’s lifewouldunfold anyonewantedtoown [sic]?”(54),and thewaytheybothrelated aproperty “Why they bothhadforthedifferent spacestheyinhabited,—Anderson wouldclaim: tions otherthanthecare ofthehomeandfamily. Indeed, thelackofattachment two womenwere throwing offtherolesusuallyattachedtothem,showing aspira- case ofDuncan fordancing. Their lifenarrativesare goodexamplesofhow these expression —especiallymusicandliterature;Anderson, foralmostallartistic inthe these twowomenwere inthecaseof inevitablylinkedtotheirpassionforart: (228). curtain (120), andDuncan abouttheneedfor“never-failing inspiration” ofherblue out theirnarratives:Andersonwritesrepeatedlyaboutthe“necessary grandpiano” would hangwherever shewastodance. These objectsbecomeleitmotifsthrough- only thingsheneededtogive expression was“a toherart bluecurtain”, whichshe 72). Duncan, ontheotherhand,tellsreaders ofherautobiographythatthe piano wasamongthefewobjectspresent inthehousessheinhabited (66-67,71- and Hamlin piano. This obsessionwassuchthattherewere momentswhenthe insistence ontheimpossibilityoflivinginahousewithoutpresence ofaMason “things,” exceptions. ingeneral,withtwoimportant The firstonewasAnderson’s space todancein” (34).Neither one seemedtohave feltspecialattachmentto refers toherfamily’s decision tolive inastudiowithnofurniture so“as tohave exactly bourgeoisperhaps(...)beingwithoutfurniture” (70).Similarly, Duncan Anderson’s own words, “furniture wasundesirable.Idecided” (68),or“[w]eweren’t ferent pointsintheirtextstheyactuallysaythatcoulddowithoutfurniture: in the ideasAndersonandDuncan hadaboutfurnishingwere ratherpeculiar; atdif- awareness ofthespace required inorder byart tobemademanifest.Significantly, edly, that“something intangible” stands,inAnderson’s andDuncan’s case,fortheir requiredintangible thatnevertheless spacetobecomeapparent” (137)Undoubt- adds that“...therelative absenceofmaterialobjectshadmadewayforsomething deep rootsnotonlyinAmericanromanticism butinancientEasterncultures”; she statesthat“thepart, notionthat‘things’ bindandthatemptinessliberates[has] amines thewayinwhichspaceisoccupiedby objects” (222).Chandler, forher mirrors oftheirowners. affirms,“the AsDavid Harvey appropriationofspaceex- life didnotobviouslycomplywiththetraditionalfamilymodelofhertime. her offspringalongorleavingthembehindforlongperiodsoftime. This stancein nent hometobringupherchildren, asshewasconstantlytravelling, eithertaking anyofthem;sheneverhadaperma- three different fathers,andrefused tomarry Duncan a toconstruct of familylife,whichseemedtohavebeenengrainedinherpersonality, ledIsadora These twoobjectsseemtobesymbolicofthewayinwhichlives of Houses are usually “inhabited” byfurnitureandobjectswhichbecome 114 sui generis The Little Review typeoffamily:sheconceived three children by ; assheacknowledges inhernarrative 06/05/2009, 9:45 07 GLEZ&RGUEZ.pmd a great personal appeal which attracted numerous artists frommanydifferenta great personalappealwhichattractednumerous artists fields mca/mcaquote.htm>). Butan artist. Ialwaysthoughtofmyselfasone” (
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ISABEL GONZÁLEZ AND DULCE RODRÍGUEZ 116 exceptional editorof artists whoappreciatedtheuniquepersonalityandtalentforconversationof was thebrilliantwomanwhoeasilycentre ofattentionforintellectualsand Likewise,Anderson ing domesticityandalwayscomplyingtothedemandsofart. stantly moving, onthevergeofinsanity, prey togriefandalcohol,butalwaysreject- came to be a sort ofmetonymyfortheirpersonalconceptionsandbeliefsaboutart, came tobeasort ready tomakethenextmove. The different spacesthesetwo womeninhabited ant lives,confirmingtheAmericantendencytobesomewhatuprooted, always inamore subduedmanner.task ofeditingintoanart-form They bothhaditiner- wild, non-stopjourneyacrosstheOld andNew Continents,Andersonturnedthe in asensibleway. firming Anderson’s intuitionabouttalentedpeoplebeingunabletodealwithmoney (167), whichmightberead asapremonition ofherend:shediedpenniless,con- curse withit,andthepeoplewhopossessitcannotbehappyfortwenty-fourhours” of lucidityshemakesthefollowing reflection inhermemoirs:“All moneybringsa Being avictimofherown incapacitytomanageherpersonalfortune,inamoment going from opulencetopoverty, andoftenreturning toSinger foreconomichelp. before offunds;shealwaysseemedtohave thehorse, of beingshort putthecart gances —whichknewnoboundaries—continuouslyexperiencedtheuncertainty out money” (187).In asimilarwayDuncan, notbeingabletocontrolherextrava- that talentedpeoplewithoutpracticalabilitiesorcommonsenseliveanddiewith- why we founditsohard torelate ourtalentstomoney-making.It isnotstrange points outinhernarrative,“We tounderstand usedtodevelopheadachestrying they bothhadacongenitaldifficultyindealingwithmoneymatters;asAnderson and Isadora Duncan were plaguedbyaconstantscarcityofmoney. It seemedthat long discussionsonthemakingofpoetry” (153). manifestation”behind theart younger poetscamefortalk. (122)or“The We had talked ART —not‘aesthetically’, buthumanely. We talkedofthehumanbeing By fiveo’clock inthemorningwewere unconsciousbutstilltalking.Chieflywe began withluncheon,reached climaxattea,bydinnerwewere staggeringwithit. axis inherlifewithJane Heap andotherintellectuals,Andersonsays:“Ourtalk personality” (qtd.inGreen 3).Making allusiontohow conversationbecamethe Garden,Mary Isadora Duncan, Lysistrata, Sappho, allpackedintoonedynamic loversalso linksourart whenshereferstoAnderson’s appeal:“she reminds you of an interesting exchange ofideas. The ‘conversation’ embodiedin that publishingareview wouldplaceherincontactwithpersonswhomshecouldalwayshave her boredom withthelifethatdidnotinclude‘inspired conversation’ minute,andherbelief every interaction demonstratesAnderson’s expressedreason themagazineinfirstplace: fordeveloping this wasreflected inhermotivationstofound forces thatmoved modernism” (60-61). If Duncan re-invented ofdancing,engagingherselfinanalmost theart All theseprojects,journeysandenterprisescarriedoutbyMargaret Anderson 9 Jayne E.Marek makesreference toAnderson’s fascinationwithconversation, andhow 116 The Little Review. 9 This isemphasizedbyEdnaM.Levey, who The Little Review The Little Review : “This insistenceonresponse and : “This 06/05/2009, 9:45 becameoneofthe 07 GLEZ&RGUEZ.pmd G B H D any country. wasthewholeworld. Their country by sayingthatMargaret andIsadora aswomen. hadnocountry They didnotwant place,wemight paraphrase a particular Virginia Woolf inhernovel transnational characterofAndersonandDuncan, sinceneitherone wasattachedto fields,butalsothelegacyoftheirautobiographies. their art To confirm the was thetargetfortheirintensecreativity. They notonlyleftustheinnovations in Indeed, Europe, where theycoulddelivertheuntamedenergyofNew World, their home,andreverse journeyturnedthembothintosignificantwomen. made onetheextensionofother:Europe, thesource of Western became art, tion ofanalwaysprovisional In hometheheartofwhichwasArt. sodoing,they Duncan atthecentre placedart oftheirlives,devotingthemselvestotheconstruc- principles. If, according is,”Andersonand totheadage,“homeiswhere the (he)art graphies twowomenwhowere notwillingtohavetheirlives by ruled Victorian outtheirprojects,sodisturbingArcadian lives. carry lovers. witheconomicdifficultiesto pened tobeart Bothwomenhadtostruggle woman couldidentify, andsotheybecametwoundomesticatedwomenwhohap- tional standards, inasmuchasdomesticitywasnotaconceptwithwhicheither sonal relationshipsthrive.Undoubtedly, theirideaoffamilydidnotmeettradi- conform totheestablishedconceptof“home,”wheredailylifeunfoldsandper- AndersonandDuncanwho dwellinthesespaces.Likewise, show how theydidnot and therefore theyreflect andbecomeavisiblemanifestationoftheideasthose A —— M G C M LAIR NDERSON HANDLER REEN ILMORE UNCAN ARVEY AREK AIRS , Fredrika. My Thirty Years’ War , Nancy. Way “The In”. , Michelle Erica. “Making No CompromiseswithCritical Taste: The War for , Jayne E. , David. , Isadora. , Leigh.“Policing Truth: Confession,Gender, andAutobiographical Authority.” In conclusion,weseeintheanalysisofAnderson’s andDuncan’s autobio- view 1991.
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ISABEL GONZÁLEZ AND DULCE RODRÍGUEZ 118 R S S W TOKES MITH EYNOLDS OOD , Sidonie andJuliaW , Ean. , Sewell. , Sewell. Martin’s, 1999. Writing , Guy. Headlong Through Life: The Story ofIsadora Duncan. Isadora Duncan:An Intimate Portrait Twentieth-century American Women’s Fiction: ACritical Introduction , 1819-1919 118 ATSON . Wisconsin: The Uof Wisconsin P, 2006. , eds. Before They Could Vote:Could BeforeAmerican They Women’s Autobiographical . London:Brentano’s, 1928. Lewes: BookGuild,Lewes: 2006. 06/05/2009, 9:45 . New York: St.