by Karen Harper
Romantic Adventure, Being the Autobiography of Elinor Glyn by Elinor Glyn, Ivor Nicholson and Watson Limited, London, 1936.
Because researchers need to be careful with autobiographies, since the authors may omit, bend, or enhance facts (and both women did), I also consulted these nonfiction books:
Addicted to Romance: The Life and Adventures of Elinor Glyn by Joan Hardwick, Andre Deutsch, London, 1994.
The “It” Girls: Elinor Glyn, Novelist, and Her Sister Lucile, Couturiere by Meredith Etherington-Smith and Jeremy Pilcher, Harcourt Brace Jovanovich, New York, 1986. (Note: I had decided on the title The It Girls before I found this book and couldn’t bear to change it. As you probably know, it is not uncommon for books to have the same title.)
I also couldn’t resist reading Elinor’s “scandalous” novel Three Weeks, published by Duckworth, London, 1907, and recently reprinted by IndyPublish.com in Boston. Of course, by modern standards, the book is quite tame, but it was the Lady Chatterley’s Lover or the Fifty Shades of Grey of its time.
I was impressed and surprised by how “modern” these sisters were, in the pursuit of their careers and in that they were at times the major breadwinners of their families. I was surprised that divorce was as common as it was, especially among the upper classes. Both women believed in self-promotion, which was quite unladylike at that time. They were definitely among the leading “lean in” CEOs of their day.
If you’d like to see a clip in which Elinor describes “It!” take a look at https://www.youtube.com/watch?v=gAoFIYulf90.
Thanks as ever to my husband, Don, for proofreading and serving as my business manager—and for putting up with a writer. Also, much gratitude to my wonderful team of Annelise Robey, my agent, and Lucia Macro, my editor.
Lucile and Elinor’s relationship reminded me of a quote from Nancy Mitford, which Lucia shared with me: “Sisters are a shield against life’s cruel adversity.” To which Nancy’s own sister, Jessica, replied, “But sisters are life’s cruel adversities.” Those of you with sisters—wish I had one—are they both right?
I do love two special quotes by the It Girls themselves, which, I think, summarize not only their lives, but what women should strive for today.
Lucile Sutherland, Lady Duff-Gordon: “It’s a tragedy for a woman to have too little to wish for.”
Elinor Sutherland Glyn: “The journey matters, not just the ending.”
I hope reading this novel mattered, not just the ending.
For more information, photos, and facts about these It Girls, please visit my website at www.KarenHarperAuthor.com, and www.facebook.com/KarenHarperAuthor.
Excerpt from
Elinor Glyn’s Three Weeks
It is not a very easy thing to fold up a huge tiger-skin into a brown paper parcel tied with string. But it was accomplished somehow and Dmitry disappeared noiselessly with it and an answer to the note:
“I will be there, sweet lady.
Your own PAUL.”
And he was.
A bright fire burnt in the grate, and some palest orchid-mauve silk curtains were drawn in the lady’s room when Paul entered from the terrace. And loveliest sight of all, in front of the fire, stretched at full length, was his tiger—and on him—also at full length—reclined the lady, garbed in some strange clinging garment of heavy purple crepe, its hem embroidered with gold, one white arm resting on the beast’s head, her back supported by a pile of velvet cushions, and a heap of rarely bound books at her side, while between her red lips was a rose not redder than they—an almost scarlet rose. Paul had never seen one as red before.
The whole picture was barbaric. It might have been some painter’s dream of the Favourite in a harem. It was not what one would expect to find in a sedate Swiss hotel.
She did not stir as he stepped in, dropping the heavy curtains after him. She merely raised her eyes, and looked Paul through and through. Her whole expression was changed; it was wicked and dangerous and provocante. It seemed quite true, as she had said—she was evidently in the devil’s mood.
Paul bounded forward, but she raised one hand to stop him.
“No! You must not come near me, Paul. I am not safe to-day. Not yet. See, you must sit there and we will talk.”
And she pointed to a great chair of Venetian workmanship and wonderful old velvet which was new to his view.
“I bought that chair in the town this morning at the curiosity shop on the top of Weggisstrasse, which long ago was the home of the Venetian envoy here—and you bought me the tiger, Paul. Ah! That was good. My beautiful tiger!” And she gave a movement like a snake, of joy to feel its fur under her, while she stretched out her hands and caressed the creature where the hair turned white and black at the side, and was deep and soft.
“Beautiful one! Beautiful one!” she purred. “And I know all your feelings and your passions, and now I have got your skin—for the joy of my skin!” And she quivered again with the movements of a snake.
It is not difficult to imagine that Paul felt far from calm during this scene—indeed he was obliged to hold on to his great chair to prevent himself from seizing her in his arms.
“I’m—I’m so glad you like him,” he said in a choked voice. “I thought probably you would. And your own was not worthy of you. I found this by chance. And oh! Good God! If you knew how you are making me feel—lying there wasting your caresses upon it!”
She tossed the scarlet rose over to him; it hit his mouth.
“I am not wasting them,” she said, the innocence of a kitten in her strange eyes—their colour impossible to define today. “Indeed not, Paul! He was my lover in another life—perhaps—who knows?”
“But I,” said Paul, who was now quite mad, “want to be your lover in this!”
Then he gasped at his own boldness.
With a lightning movement she lay on her face, raised her elbows on the tiger’s head, and supported her chin in her hands. Perfectly straight out her body was, the twisted purple drapery outlining her perfect shape, and flowing in graceful lines beyond—like a serpent’s tail. The velvet pillows fell scattered at one side.
“Paul—what do you know of lovers—or love?” she said. “My baby Paul!”
“I know enough to know I know nothing yet which is worth knowing,” he said confusedly. “But—but—don’t you understand, I want you to teach me—”
“You are so sweet, Paul! When you plead like that I am taking in every bit of you. In your way as perfect as this tiger. But we must talk—oh! Such a great, great deal—first.”
A rage of passion was racing through Paul, his incoherent thoughts were that he did not want to talk—only to kiss her—to devour her—to strangle her with love if necessary.
He bit the rose.
“You see, Paul, love is a purely physical emotion,” she continued. “We could speak an immense amount about souls, and sympathy, and understanding, and devotion. All beautiful things in their way, and possible to be enjoyed at a distance from one another. All the things which make passion noble—but without love—which is passion—these things dwindle and become duties presently, when the hysterical exaltation cools. Love is tangible—it means to be close—close—to be clasped—to be touching—to be One!”
Reading Group Guide
1.The status and struggles of women were different in the late Victorian and Edwardian eras. How do Lucile and Elinor both triumph but also pay the price for pushing the envelope in their careers?
2.Take another look at the two quotes by the Sutherland sisters at the end of the “Behind the Book” essay. Would those statements be true today or are they dated? What single inspirational statement or piece of advice would you share about a woman’s journey through life today?
3.The acquaintances and friends of the Sutherland sisters are a list of who’s who of two continents. Of the various famous people who figure in the story, who would make a good central character for a novel of his or her own? And have you read a book or seen a movie about one of these secondary char
acters? I recall a 1978–1979 Masterpiece Theatre series on Lillie Langtry called The Jersey Lily. Amazon has the complete series on DVD, and some episodes are archived through PBS’s Masterpiece Theatre to be watched online.
4.The concept of “It” as being a charismatic character trait is still around today. It is first mentioned in chapter eight of this novel, and most people associate it with Clara Bow. Do you know or have you known someone who emanates “It”? How or why did they stand out to you? And how would you explain that personality phenomenon to someone who hears about it for the first time? Do all famous people have some sort of “It” today?
5.Both Elinor and Lord Curzon had derogatory doggerel written about them. Was this the negative social media attack of their day? What other social pressures are mentioned in the novel? And how does the press of that period compare to the media of our time?
6.The novel illustrates that sisters can be a blessing or a curse. Why didn’t the Sutherland sisters get on at times? Have you experienced similar two-edged family dynamics in your own life or observed it in that of others’? Have you read fiction or nonfiction about other “sister acts”?
7.It has long been noted that women who lose their fathers early may later tend to gravitate toward older men. Lucile and Elinor lost their father early; they didn’t really remember him, and he was kept alive and young through their mother’s memories. Have you seen women try to replace a loved and lost parent in their lives?
8.The traditional concept of “romance” (meaning not just a love story) played a part in the lives and careers of both Lucile and Elinor. Did their clinging to their ideal of romance (based on chivalry and adventure with the idealized woman on a pedestal) help or hurt them in their respective careers as designer and novelist?
9.Who are the noted women today who are “leaning in” and breaking barriers through unique careers or endeavors? Do they have it easier or harder than women in the past? (And do they have “It”?)
10.As a reader, what do you think of historical novels that are what Alex Haley, the author of Roots, dubbed “faction”—that is, a well-researched novel about real people that has fictional scenes and dialogue and some invented characters? How would a faction novel work differently from a well-written nonfiction book on the same subject?
11.Do you agree with Elinor or Lucile about whether to read the end of a novel first before investing hours into reading the whole book? Have you ever done that or have you known others who did? What were their reasons?
12.What did you think of the style and content of the Three Weeks excerpt?
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Acknowledgments
Thanks to Don for living with an Anglophile and proofreading my manuscripts. Also, I greatly appreciate my support team at HarperCollins, especially my editor, Lucia Macro, as well as my agent, Annelise Robey—both modern “It Girls.”
Praise for The It Girls
“The It Girls is a glorious romp through the lives and loves of the scintillating Sutherland sisters! Karen Harper does a wonderful job of bringing Lucile and Elinor to life in this richly imagined and impeccably researched novel. Readers who enjoy historical fiction are in for a treat!”
—Hazel Gaynor, New York Times bestselling author of The Girl Who Came Home
Praise for The Royal Nanny
“Veteran author Harper fills her tale with exquisite details of clothing, habits, palace intrigue, and everyday life. Fans of period dramas will enjoy the engaging plot, well-drawn characters, and vivid setting.”
—Booklist
“This is a beautifully told novel of a woman who was surrounded by all the glitz and glamour of royalty but remained unaffected . . . Readers will greatly admire the protagonist while learning about the quirks of the royal family and the events that shook the world in the early 20th century.”
—Historical Novel Society
“Emotional and sweet, brimming over with details of the daily life of the household, traveling to exotic locals, city and county experiences. From palaces to nurseries, this behind-the-scenes story is a testament to Harper’s skill for bringing readers straight into her novels . . . Harper at her best.”
—RT Book Reviews
“Told through the eyes of an endearing narrator, The Royal Nanny is a gem, revealing that those forgotten in history are often the true treasures.”
—Erika Robuck, nationally bestselling author of Hemingway’s Girl
“Fans of Downton Abbey will devour this vivid tale of one nanny’s unwavering love and sacrifices endured for the sake of the royal children in her care. Full of emotion and heart, Lala redefines the meaning of motherhood while Harper gives us a behind-the-scenes look into the lives of the Royals.”
—Renée Rosen, author of White Collar Girl
Also by Karen Harper
HISTORICAL NOVELS
The Royal Nanny • The Queen’s Governess
The Irish Princess • Mistress Shakespeare
The First Princess of Wales • The Last Boleyn
THE QUEEN ELIZABETH I MYSTERY SERIES
The Hooded Hawke • The Fatal Fashione
The Fyre Mirror • The Queene’s Christmas
The Thorne Maze • The Queene’s Cure
The Twylight Tower • The Tidal Poole
The Poyson Garden
SUSPENSE
Chasing Shadows • Drowning Tides
Falling Darkness • Broken Bonds
Shattered Secrets • Upon a Winter’s Night
Dark Crossings • Finding Mercy
Return to Grace • Fall from Pride
Down River • Deep Down
The Hiding Place • Below the Surface
Inferno • Hurricane
Dark Angel • Dark Harvest
Dark Road Home • The Falls
The Stone Forest • Shaker Run
Down to the Bone • The Baby Farm
Empty Cradle • Black Orchid
Credits
Cover design by Mumtaz Mustafa
Cover photographs: © Ilina Simeonova (women); © Ken Welsh / Bridgeman Images (ship)
Copyright
This book is a work of fiction. References to real people, events, establishments, organizations, or locales are intended only to provide a sense of authenticity, and are used fictitiously. All other characters, and all incidents and dialogue, are drawn from the author’s imagination and are not to be construed as real.
P.S.™ is a trademark of HarperCollins Publishers.
THE IT GIRLS. Copyright © 2017 by Karen Harper. All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the nonexclusive, nontransferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, decompiled, reverse-engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereafter invented, without the express written permission of HarperCollins e-books.
FIRST EDITION
Title page art © by MSSA/Shutterstock, Inc.
EPub Edition October 2017 ISBN: 978-0-06-256778-9
Print ISBN: 978-0-06-256777-2
Print ISBN: 978-0-06-269844-5 (library edition)
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