by Lisa Cohen
“I somehow wish…was”: Olguita Berington to MG, n.d., [1945], MGP.
“It is 43…betrayal”: MG memoir drafts, MGP.
“Of course I am a feminist!”: Hoare, “Come into the Garland, Madge.”
“It is not…do”: Compton-Burnett, More Women Than Men, 438.
“You are not…you”: Rebecca West to MG, n.d., RWP.
“most of the…time”: MG to Isabelle Anscombe, interview, London, July 2, 1980, IAP.
“this wonderful-looking…beauty”: MG to Flora Groult, interview, London, July 26, 1986.
farm in Sussex: Miller’s photo essay about having friends and guests help run the property includes a photograph of Madge. “Working Guests,” British Vogue, July 1953.
“She was much…boys”: MG to Flora Groult, interview, London, July 26, 1986.
“How are you…Lee”: N.d., MGP.
“TO DARLING KITTY…tissu”: Colombe Pringle to author, interview, Paris, December 5, 1997.
“in my new…formidable”: Woolf, Diary, June 9, 1926, 3:89.
“Jews swarmed…squalor”: Virginia Woolf to Vanessa Bell, June 2, 1926, Woolf, Letters 3: 269–70.
“hated the Cockney…lovely”: Olivier Todd to author, interview, Paris, September 23, 1997.
“Art came first…Cubism”: Ibid.
“merely accumulated quotations…Wittgenstein”: Olivier Todd, Year of the Crab, trans. Oliver Ocburn, galleys to unpublished book [Henley-on-Thames: Aidan Ellis, 1975], 132.
“but was constantly…poverty”: Olivier Todd to author, interview, Paris, September 23, 1997. 346 nigger brown: Garland, “Interiors by Eyre de Lanux,” 265.
“We always knew…that”: Chloe Tyner to author, telephone interview, May 19, 1997.
“great friend”: MG to Isabelle Anscombe, interview, London, July 2, 1980, IAP.
“two rather fruity old gentlemen”: Peter Schabacker to author, interview, Shoreham, October 19, 2000.
“I know nothing”: Patricia Laffan to author, interview, London, March 21, 1998.
“We were very close friends”: Isabelle Anscombe to author, interview, Wittersham, January 11, 1999.
“It has entirely…today”: MG to Isabelle Anscombe, interview, London, October 8, 1979, IAP.
LOOKING IS NOT VANISHING
“She was intelligent…wearing”: Francis Wyndham to author, telephone interview, January 14, 1999.
“too frilly and feminine”: Katharine White to Janet Flanner, September 7, 1928, New Yorker papers, New York Public Library.
“She has left no monument”: Peter Ward-Jackson, interview, London, September 17, 1997.
HYMNS…WORDS”: Madge Garland, ms., MGP.
“never vaunted or…did”: Hilary Spurling to author, conversation, London, September 25, 1997.
“a key figure…achievements”: “Madge Garland,” obituary, Times (London), July 18, 1990.
“explosive, fast…gloves”: Serena Sinclair to author, telephone interview, July 15, 2002.
“not a reading…book”: MG to Flora Groult, interview, London, July 26, 1986.
“only a few…husbands”: Garland, Fashion, 45
“valuable insofar as…time”: MG to Isabelle Anscombe, interview, London, July 2, 1980, IAP.
“look up Cicilia [sic]…cent”: Notebook, MGP.
“She had a…now”: Sarah Stacey to author, interview, London, December 7, 1997.
“even buying a…fun”: Madge Garland, “Travel in Vogue: Malaya,” British Vogue, December 1962, MGP.
“Unexpected oddities of…cargoes”: Madge Garland, “Cargo-Boats: It’s a Gift,” The Spectator, September 15, 1967, MGP.
“the panache of…jewellery”: Madge Garland, “I Speak of Africa and Golden Joys,” British Vogue, October 1967, 62.
“real love was…‘Ainos’”: Madge Garland, “Four Fearless Females” The Saturday Book 24, John Hadfield, ed. (London: Hutchinson, 1964), 65.
“It is lovely…consciousness”: MG to Barbara Robinson, March 22, 1970.
“I’ve been in…America”: MG to Peter and Shaunagh Ward-Jackson, conversation, London, December 28, 1987.
“but despite this…abyss”: Sarah Stacey to author, interview, London, December 7, 1997.
“spent five or…way”: Peter Ward-Jackson to author, interview, London, September 17, 1997.
“I think that…interested”: Sarah Stacey to author, interview, London, December 7, 1997.
“She died in…lost”: Madge Garland, “Four Fearless Females,” 71.
“Fashion is like air”: “Seven Ages of Fashion: The Regency,” Thames Television, 1975, videocassette (VHS), 26 min.
“for their charm…beneath”: Garland, “Introduction,” Fashion 1900–1939, 7.
“I wish I…now!”: MG to Isabelle Anscombe, interview, London, October 8, 1979, IAP.
excited about…that”: Sarah Stacey to author, interview, London, December 7, 1997.
“What is there…again”: Garland, “Artifices,” 81.
“Whether we like…age”: Garland, “Artifices,” 85.
“I don’t like…clothes”: MG to Isabelle Anscombe, interview, London, October 8, 1979, IAP.
“the ‘Good Old Days’”…her: Garland, “Condé Charm.”
“This nostalgia thing…back”: Neustatter, “The Magic Circle.”
“I am incapable…future)”: Madge Garland, “You May Still Be on Your Holidays,” Brittania and Eve, September 1930, 72.
“how miraculous it…past”: MG to Isabelle Anscombe, interview, London, July 2, 1980, IAP.
“bent as she…Balenciaga”: Diana Scarisbrick to author, interview, London, September 26, 1997.
“feminine and sensual…Century”: Royal College of Art Fiftieth Anniversary program.
“the [Palazzo] Pitti…girls”: Garland, Fashion, 75–76.
“she said, ‘No…circumstances’”: Diana Scarisbrick to author, interview, London, September 26, 1997.
“my friend…Vogue”: MG memoir drafts, MGP.
“She was a…herself”: MG to Hilary Spurling, conversation, London, March 29, 1989.
“less-than-always-honorable…full”: Garland, “Condé Charm.”
Fashion, 108.
“relief” to emerge…“gloves”: Garland, “Condé Charm.”
Acknowledgments
My first thanks are to Hilary Spurling, Madge Garland’s literary executor and friend, who trusted me with Madge’s papers, shared her memories of her, and provided gracious guidance. In addition, I am deeply grateful to Peter and Shaunagh Ward-Jackson, Madge Garland’s executors, for crucial sources and perspective on her life; to Brenda Wineapple, for encouraging me to write about Esther Murphy and for her early support of this project; to Laura Donnelly, for allowing me to consult and cite the Donnelly/Murphy family papers; to Olivier Todd, for sharing memories and documents about his grandmother, Dorothy Todd, and his mother, Helen Todd; to John McHarg, Madge Garland’s nephew, for safeguarding and allowing me to quote the letters she sent his father; to Patrick Garland, for his memories of his father, Ewart Garland, and for allowing me to quote his wartime diary; to Elizabeth Al-Quadi and Charles Strachey, for kindly permitting me to quote material in the archive of their father, John Strachey; to Lindsey Pietrzak, keeper of the diaries of her father, Harry Yoxall; to Alexandra Berington, for access to the scrapbooks and photo albums of her mother-in-law, Olguita Monsanto Queeny Berington; to William Noone, Helen Todd’s son-in-law, for sharing his research on Dorothy Todd; and to Hugo Vickers, ever generous steward of Cecil Beaton’s legacy.
I am indebted to the following librarians, archivists, curators, and institutions for their expertise and assistance: Elizabeth Fuller, Judith Guston, and Karen Schoenewaldt at the Rosenbach Museum & Library, Philadelphia; Stephen Mielke and others at the Harry Ransom Humanities Research Center, University of Texas, Austin; Barbara Orbach Natanson, Prints and Photographs Division, Library of Congress; Patrick Kerwin and others, Manuscripts Division, Library of Congress; the National Art Libr
ary and the Archive of Art and Design, Victoria and Albert Museum, London; the British Library (Colindale, Bloomsbury, St. Pancras); the Chelsea Library, London; the Royal College of Art Archives, London; the Guildhall Library, London; Nancy Kuhl, Leigh Golden, and others, Beinecke Rare Book and Manuscript Library, Yale University, New Haven; Jonathan Harrison, St. John’s College Library, Cambridge; Trish Hayes, the BBC Written Archives Centre, Reading; Charlie Scheips and Shawn Waldron, the Condé Nast Archive, New York; Camden Local Studies and Archives Centre, London; the State Library of Victoria, Melbourne; Chris Petter, Special Collections, McPherson Library, University of Victoria, British Columbia; Terence Pepper, National Portrait Gallery, London; Polly Thistlethwaite, Mina Rees Library, the Graduate Center, City University of New York; McCabe Library, Swarthmore College; the New York Public Library; Bobst Library, New York University; Olin Library, Wesleyan University; Peter Maplestone, St. Mary le Strand, London; Rebecca Mayne, Grand Rapids History & Special Collections Center; Nicky Sugar, Royal Holloway and Bedford College, London; Charlotte J. Kuhn, Monsanto family archives, St. Louis; Cynthia Curtner, Boston Latin School; Sharon Stearns, The Brearley School, New York; Anne Thomson, Newnham College Archives, Cambridge; Betsy Lowenstein, Special Collections, State Library of Massachusetts, Boston; The National Archives, London.
My research was supported by the Andrew W. Mellon Foundation and Swarthmore College; the Harry Ransom Humanities Research Center, University of Texas, Austin; the Center for Lesbian and Gay Studies, City University of New York; the Center for the Study of Gender and Sexuality, New York University; and Wesleyan University.
This book could not have been completed without the following people, who generously granted interviews and corresponded with me about my subjects: Jane Abdy, Hardy Amies, Jennifer Beattie, Wilder Luke Bernap, Moorea Black, Lesley Blanch, Joanne Brogden, Julia Burney, Francis Collin, Roderick Coupe, Anne Crosthwait, James Douglas, Helen Drummond, Sarah Drummond, Lila Duckworth, Gina Fratini, Mimi Hodgkin, Della Howard, Virginia Ironside, Chippy Irvine, Francis King, Patricia Laffan, Flora Groult Ledwidge, Frances Loyen, Robert Macpherson, Gerald McCann, Peter Miall, Barbara Morris, Diana Mosley, Veronica Nicolson, Bernard Nevill, Colombe Pringle, Tim Pringle, Carol Newman, Michael Parkin, Sheila Pearson, Ralph Pindar-Wilson, Tristram Powell, Violet Powell, Graham Reynolds, Barbara Robinson, George Rylands, David Sassoon, Diana Scarisbrick, Marian Seldes, Richard Shone, Serena Sinclair, Charles Sinnickson, Sarah Stacey, Quentin Stevenson, Chloe Tyner, Chris Tyner, Anne Tyrrell, Clive Wainwright, David Watts, Audrey Williams, Audrey Withers, Christopher Wood, Patrick Woodcock, and Francis Wyndham.
I am grateful to the editors who published early versions of some of this material: Tom Beer, Ann Cvetkovich, Annamarie Jagose, Sarah Pettitt, Frances Spalding, and Valerie Steele.
For consultation, inspiration, hospitality, and other assistance along the way, I thank Devon Allison, Hilton Als, Dag Bennett, Lauren Blumenthal, Hanna Bottomley, James Cohen, Sarah Cohen, Blanche Wiesen Cook, Caleb Crain, Christina Crosby, Prudence Crowther, Ann Cvetkovich, Richard Deming, Carolyn Dinshaw, Maureen Emerson, Eliza Gag non, Victoria Glendinning, Camilla Grey, John Griffin, Selina Hastings, Peter Kurth, Magdalene Lampert, Linda Leavell, Carolyn Lesjak, Nicola Luckhurst, Risa Mickenberg, Lisa Moore, Mark Morelli, Barbara Piscitelli, Deborah Rothschild, Robyn Selman, David Stenn, William Stowe, Judy Tucker, Amanda Vaill, Hella von Unger, Shelley Wanger, Steven Watson, Geoff Weston.
I will always be profoundly indebted to Ira Silverberg, formerly of Sterling Lord Literistic; Lorin Stein, formerly of Farrar, Straus and Giroux; Courtney Hodell, Mark Krotov, and Jonathan Lippincott, Farrar, Straus and Giroux; and Sarah Lutyens, Lutyens and Rubenstein. My thanks also to Charlotte Strick, Jim Rutman, Dwight Curtis, Stephen Weil, and Georgia Cool.
Without whom not: Sybille Bedford, Sylvia Brownrigg, Clifford Chase, Jill Ciment, Charlotte Gere, Isabelle Grey, James Lyons, Aliette Martin, Ann Reynolds, Matthew Sharpe, Siobhan Somerville, Patricia White, Elizabeth Willis. And finally, with love: David K. Cohen and Vanessa Haney.
Index
The index that appeared in the print version of this title does not match the pages in your eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that appear in the print index are listed below.
ABC radio
Acosta, Enrique de
Acosta, Mercedes de; attachments to women of; autobiography of; Bible of; biography of; birth of; Catholic upbringing of; celebrity of; childhood and adolescence of; death of; depressions and suicidal impulses of; as devotee of celebrated actresses and dancers; education of; EM on; fantasy life of; fashionable personal style of; feminism of; financial concerns of; flamboyant personality of; flowers as sexual objects to; gender identity of; illnesses of; marriage of; MG and; nicknames of; passionate collecting of; pets of; physical appearance of; poetry of; portrait of; religious enthusiasms of; reputation of, as a seductress; restlessness and alienation of; screenwriting of; shooting pastime of; siblings of; sleep disturbances of; Spanish family background of; theatrical interests of; writing of
Acosta, Micaela Hernandez de Alba de
Adair, Robin
Adams, Ansel
Adams, Henry
Adams, Maude; birth of; death of; fame of; MdA’s adoration of; natural acting style of; as Peter Pan; privacy and solitude sought by; retirement of; as theater technician
Adler, Sue
Agnew’s Gallery
Aiglon, L’ (Rostand)
Aitkin, Thomas
Albert, Prince (later George VI)
Aldington, Richard
Alfonso, King of Spain
Algonquin Hotel
Alice in Wonderland (Carroll)
Allan, Maud
American Fashion Group
American Mercury
Amerika
Amies, Sir Hardy
Anderson, Margaret
Anderson, Ruth
“Angel at the Grave, The” (Wharton)
Anna Christie (film)
Anscombe, Isabelle
Answered Prayers (Capote)
anticommunism
Antietam, Battle of
antifascism
anti-Semitism
Appiah, Joseph
“April in Paris,”
Arcades Project (Benjamin)
Architect and Building News
Architectural Review
Argonne Forest, Battle of
Arletty
Armory Show of 1913
Army, U.S.
Arrighi, Luciana
Arthur, Chester A., I
Arthur, Chester A., II
Arthur, Chester A., III; anti-intellectualism of; Army and Merchant Marine service of; death of; EM’s marriage with and divorce from; film appearances of; first marriage with and divorce from; homosexuality of; illnesses and injuries of; indolence and drinking of; sexual studies of; utopianism and astrology pursued by
Arzner, Dorothy
Ashton, Frederick
Ashton, Madge, see Garland, Madge
Ashton, Sir Leigh
Aspern Papers, The (James)
Astor family
astrology
Athalie (Racine)
Atherton, Gertrude
Aubigné, Constant d’
Aubigné, François d’, see Maintenon, Madame de
Aubigné, Jean d’
Aubigné, Theodore-Agrippa d’
Aumale, Mademoiselle d’
Austen, Jane
Austin, Mary
Autobiography of Alice B. Toklas, The (Stein)
Balenciaga, Cristobal
Ballets Russes
Balmain, Pierre
Bankhead, Tallulah, MdA and
Banting, John
Barnes, Djuna
Barney, Natalie; character and personality of; EM’s relationship with; EM’s stories about; lesbianism of; poetry of; salon of
Barrie, J. M.
Barry, Philip
Barrymore, Ethel
Barrymore, John
Bates, Daisy
Bauhaus
BBC
Beard, Charles
Beast in the Jungle, The (James)
Beaton, Sir Cecil; on MG; photography of
Beaux Arts Ball
Beck, Maurice
Bed, The (film)
Bedford, Sybille; background and early life of; on EM; EM’s relationship with; legal reporting of; on MG; and Sanary-sur-Mer; works of; writing style of
Bedford College
Bell, Anne Olivier
Bell, Clive
Bell, Vanessa
Benjamin, Walter
Benson, Theodora
Bergery, Bettina
Bernhardt, Sarah
Bertin, Rose
Betjeman, John
Bevan, Aneurin
Bhagavad Gita
Bible
Biches, Les (ballet)
Bingham, Alfred
Bird, Isabella
Bishop, John Peale
Bishop, Margaret Grosvenor Hutchins
Blackbirds revue
Blacket Gill, Frances “Fay,”
black market
Blaine, James
Blake, William
Blanch, Lesley
Blessington, Lady
Bloomsbury Group
Board of Trade, British
Boldini, Giovanni
Bonnard, Pierre
Boothby, Robert
Borderline (film)
Boris Godunov (Tchaikovsky)
Boulestin, Marcel
Bourdet, Édouard
Bourgogne, Duc de
Bourgogne, Duchesse de
Bourne, Stafford
Bourne and Hollingsworth
Bowen, Elizabeth
Bowes-Lyon, Elizabeth, see Elizabeth, Queen Mother of England
Bowles, Jane
Boynton, Louise
Brancusi, Constantin
Brearley School
Brewer, Joseph
Briar Rose (Burne-Jones)
Brillat-Savarin, Jean Anthelme
British Museum
British Parliament
British Union of Fascists
Brittain, Vera
Brittania and Eve; MG’s editing and writing at
Brogden, Joanne
Brooklyn Museum
Brooks, McGlashan, and McHarg