Bohemians Bootleggers Flappers And Swells

For the magazine's centenary celebration, an anthology of pieces from the early golden age of Vanity Fair. Features great writers on great topics, including F. Scott Fitzgerald on what a magazine should be, Clarence Darrow on equality, D.H. Lawrence on women, e.e. cummings on Calvin Coolidge, John Maynard Keynes on the collapse in money value, Thomas Mann on how films move the human heart, Alexander Woollcott on Harpo Marx, Carl Sandburg on Charlie Chaplin, Djuna Barnes on James Joyce, Douglas Fairbanks, Jr., on Joan Crawford, and Dorothy Parker on a host of topics ranging from why she hates actresses to why she hasn't married.

The first biography in over thirty years of Condé Nast, the pioneering publisher of Vogue and Vanity Fair and main rival to media magnate William Randolph Hearst. Condé Nast’s life and career was as high profile and glamorous as his magazines. Moving to New York in the early twentieth century with just the shirt on his back, he soon became the highest paid executive in the United States, acquiring Vogue in 1909 and Vanity Fair in 1913. Alongside his editors, Edna Woolman Chase at Vogue and Frank Crowninshield at Vanity Fair, he built the first-ever international magazine empire, introducing European modern art, style, and fashions to an American audience. Credited with creating the “café society,” Nast became a permanent fixture on the international fashion scene and a major figure in New York society. His superbly appointed apartment at 1040 Park Avenue, decorated by the legendary Elsie de Wolfe, became a gathering place for the major artistic figures of the time. Nast launched the careers of icons like Cecil Beaton, Clare Boothe Luce, Lee Miller, Dorothy Parker and Noel Coward. He left behind a legacy that endures today in media powerhouses such as Anna Wintour, Tina Brown, and Graydon Carter. Written with the cooperation of his family on both sides of the Atlantic and a dedicated team at Condé Nast Publications, critically acclaimed biographer Susan Ronald reveals the life of an extraordinary American success story.

Modernist Women Writers and American Social Engagement explores the role of social and political engagement by women writers in the development of American modernism through an examination of a diverse array of genres by both canonical modernists and underrepresented writers.

Studies of millinery tend to focus on hats, rather than the extraordinarily skilled workers who create them. American Milliners and their World sets out to redress the balance, examining the position of the milliner in American society from the 18th to the 20th century. Concentrating on the struggle of female hat-makers to claim their social place, it investigates how they were influenced by changing attitudes towards women in the workplace. Drawing on diaries, etiquette books, trade journals and contemporary literature, Stewart illustrates how making hats became big business, but milliners' working conditions failed to improve. Taking the reader from the Industrial Revolution of the 1760s to the sexual revolution of the 1960s, and from Belle Epoque feathers to elegant cloches and Jackie Kennedy's pillbox hat, the book offers a new insight into the rise and fall of a fashionable industry. Beautifully illustrated and packed with original research, American Milliners and their World blends fashion history and anthropology to tell the forgotten stories of the women behind some of the most iconic hats of the last three centuries.

Among many art, music and literature lovers, particularly devotees of modernism, the expatriate community in France during the Jazz Age represents a remarkable convergence of genius in one place and period - one of the most glorious in history. Drawn by the presence of such avant-garde figures as Joyce and Picasso, artists and writers fled the Prohibition in the United States and revolution in Russia to head for the free-wheeling scene in Paris, where they made contact with rivals, collaborators, and a sophisticated audience of collectors and patrons. The outpouring of boundary-pushing novels, paintings, ballets, music, and design was so profuse that it belies the brevity of the era (1918-1929). Drawing on unpublished albums, drawings, paintings, and manuscripts, Charles A. Riley offers a fresh examination of both canonic and overlooked writers and artists and their works, by revealing them in conversation with one another. He illuminates social interconnections and artistic collaborations among the most famous - Fitzgerald, Hemingway, Gershwin, Diaghilev, and Picasso - and goes a step further, setting their work alongside that of African Americans such as Sidney Bechet, Archibald Motley Jr., and Langston Hughes, and women such as Gertrude Stein and Nancy Cunard. Riley's biographical and interpretive celebration of the many masterpieces of this remarkable group shows how the creative community of postwar Paris supported astounding experiments in content and form that still resonate today.

One January day in 1923, a young boy came across the dead body of a twenty-year-old woman on a San Diego beach. When the police arrived on the scene, they found the woman’s calling card, which read simply, “I am Fritzie Mann.” Yet Fritzie’s identity, as revealed in this compelling history, was anything but simple, and her death—eventually ruled a homicide—captured public attention for months. In Fritzie, historian Amy Absher reveals how broader cultural forces, including gendered violence, sexual liberation, and evolving urban conditions in the American West, shaped the course of Mann’s life and contributed to her tragic death. Frieda “Fritizie” Mann had several identities during her brief life, and the mysterious circumstances of her death raise as many questions as they do answers. She was born in 1903 near the present border between Poland and Ukraine. She and her family were Jewish immigrants who traveled to San Diego to find security and prosperity. In the last year of her life, Mann became locally famous. She had reinvented herself as a flapper and “Oriental” dancer. She claimed to have friends in Hollywood and a movie contract. On the night of her murder, she said she was going to a party to meet her Hollywood friends; instead she traveled to an isolated roadside hotel where she met her death. An autopsy revealed that she was four and a half months pregnant. Absher guides the reader through the intricacies of this true crime story as it unfolded, from the initial flawed investigation to the sensationalized press coverage and the ultimate failure of the legal system to ensure justice on Mann’s behalf. Like other “new women” of her era, Fritzie Mann adopted roles that promised liberation from the control of men. In the end, her life and early death suggest the opposite: she became the victim of a culture that consumed women even as it purported to celebrate them.

Ballyhoo! The Roughhousers, Con Artists, and Wildmen Who Invented Professional Wrestling is a history of professional wrestling’s formative period in the U.S., from roughly 1874 to 1941, and the contested interplay of wrestlers and promoters who built the “sport” as we know it. During this period, the major conventions that would define wrestling to the present day were perfected and codified, as wrestling morphed from a rough sport practiced on farms and at town gatherings to melodramatic mass entertainment that reliably drew large crowds in cities across the nation. The narrative uses the life and career of Jack Curley—a boxing promoter whose fortune took a turn for the better when he began promoting wrestling matches—as a compass as it charts the development of wrestling. By the late 1910s, Curley’s shows were selling out Madison Square Garden monthly. Ballyhoo chronicles his competition with the other promoters, as well as the lives of colorful athletes like “Strangler” Ed Lewis, Frank Gotch, the “Masked Marvel,” Jim Londos, “Gorgeous George” Wagner, “Farmer” Martin Burns, and “Dynamite” Gus Sonnenberg.

This book examines how the early twentieth-century Irish Renaissance (Irish Literary Revival) inspired the Chinese Renaissance (the May Fourth generation) of writers to make agentic choices and translingual exchanges. It sheds a new light on “May Fourth” and on the Irish Renaissance by establishing that the Irish Literary Revival (1900-1922) provided an alternative decolonizing model of resistance for the Chinese Renaissance to that provided by the western imperial center. The book also argues that Chinese May Fourth intellectuals translated Irish Revivalist plays by W. B. Yeats, Lady Gregory, Seán O’Casey and Synge and that Chinese peasants performed these plays throughout China during the 1920s and 1930s as a form of anti-imperial resistance. Yet this literary exchange was not simply going one way, since Yeats, Lady Gregory, Synge and O’Casey were also influenced by Chinese developments in literature and politics. Therefore this was a reciprocal encounter based on the circulation of Anti-colonial ideals and mutual transformation.