Chains Of Love And Beauty

Why a monumental diary by an aunt and niece who published poetry together as “Michael Field”—and who were partners and lovers for decades—is one of the great unknown works of late-Victorian and early modernist literature Michael Field, the renowned late-Victorian poet, was well known to be the pseudonym of Katharine Bradley (1846–1914) and her niece, Edith Cooper (1862–1913). Less well known is that for three decades, the women privately maintained a romantic relationship and kept a double diary, sharing the page as they shared a bed and eventually producing a 9,500-page, twenty-nine-volume story of love, life, and art in the fin de siècle. In Chains of Love and Beauty, the first book about the diary, Carolyn Dever makes the case for this work as a great unknown “novel” of the nineteenth century and as a bridge between George Eliot and Virginia Woolf, Victorian marriage plot and modernist experimentation. While Bradley and Cooper remained committed to publishing poetry under a single, male pseudonym, the diary, which they entitled Works and Days and hoped would be published after their deaths, allowed them to realize literary ambitions that were unfulfilled during their lifetime. The women also used the diary, which remains largely unpublished, to negotiate their art, desires, and frustrations, as well as their relationships with contemporary literary celebrities, including Robert Browning, Oscar Wilde, William Butler Yeats, and Walter Pater. Showing for the first time why Works and Days is a great experimental work of late-Victorian and early modernist writing, one that sheds startling new light on gender, sexuality, and authorship, Dever reveals how Bradley and Cooper wrote their shared life as art, and their art as life, on pages of intimacy that they wanted to share with the world.

""Michael Field" was the pseudonym of two women writing as a male author: Katharine Bradley and Edith Cooper, who were aunt and niece, and a devoted couple for three decades that spanned the late nineteenth and the early twentieth centuries. While much has been written about the Fields' many volumes of poetry and plays, and about their strange and complicated life, this book is the first to focus on their diary, which they kept for twenty-five years and viewed as an "unpublished manuscript" called Works and Days. In this book, Dever argues that Works and Days represents one of the great experimental prose narratives of the transitional period between Victorian and modernist literature. Through the co-written diary, which fills twenty-nine volumes and about 9,500 pages, the women envisioned a life beyond the tight horizons of one home and one family, and portrayed new forms of women's intimacy at the dawn of the twentieth century. Dever focuses on five pivotal years in the life of Bradley and Cooper as reflected in the diary: the death of Cooper's mother; a year of personal and professional humiliation; the death of Cooper's father; the women's establishment of their home together; and the event they experience as a devastating loss, the death of their dog Whym Chow. In this examination of the Fields' most personal writing, Dever establishes their unlikely role as a bridge between the Victorians and the experiments of modernism to come"--

After seven years of separation, two lovers meet again in the art world of postwar Paris but find little joy in their life together.

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Only the Moon Understands the Beauty of Love, signifies the next chapter in the creative nonfiction writer's life. Though Slatin enjoyed a rewarding career as an Emergency Medical Technician and Firefighter spanning some two decades, writing has permeated every aspect of Slatin's life since writing on her parents' New York City apartment walls as a child. Slatin says, when it became apparent that she was unlikely to stop, her parents set up a desk and chair with a pile of notebooks and pens. So, how do you rekindle creative passions and pursue them as your second career? For Slatin, rebranding herself as a writer has been a significant challenge but is equally rewarding. It was reaching her retirement goal from the fire service and a failed long-term relationship that catalyzed Slatin's conversion to writing and photography full-time. Today, you'll find the Vermont-based writer scribbling ideas, song lyrics, snippets of news, or conversations on paper that she later incorporates in her writing – a change of pace from her former life. For many amateur writers, success is incredibly challenging and habitual – it requires disciplines, portfolios, exposure, and contributions. Early on, Slatin turned to the online world, establishing her author platform and building a readership. Her journalistic-style entries include first-hand personal accounts, layered with assiduous hindsight narration. Slatin describes her writing style as reminiscent of the 1988 television show, The Wonder Years. For example, she devotes a passage to her favorite tree as an 8-year-old in her parent's backyard in Stamford, New York, titled, A Little Ghost For The Offering. The new book amalgamates Slatin's most inspired pieces, a tangible product decades in the making. In essence, the book documents her life, careers, and relationships with the potential for expansion in future releases. Though she admits many aspects of her life are irreconcilable, nevertheless, in her work, Slatin deconstructs, then bridges the two spheres. In life, as in her writing, Slatin recognizes that everything is connected in some way, even if connections are unseen or not fully understood. She's also grateful to those who invigorated her writing passion. Slatin received mentorship and encouragement from her youth by some illustrious literary names, including American journalist Charles Kuralt, and poet and writer Allen Ginsberg. She describes Ginsberg's mentorship included sharing his writing process and practices that Slatin still uses today. Slatin dedicates the entire memoir to her wife and agent, Amelia Desertsong. It's clear that Amelia is at the center of all her work as muse, confidant, and greatest supporter. Desertsong's admiration, love, and respect are also clearly apparent in her description of Thomas and her work, having written the foreword to the new book – challenging the myth that writers assume solitary existences in success. When asked about the most challenging aspect of self-publishing, Slatin says it takes an enormous amount of discipline, but the biggest challenge is wrestling with extremely high standards. She seeks the absolute pinnacle of quality as a writer, refusing to publish anything short of such a standard. As a self-publishing author with Barnes and Noble, Slatin also takes on the roles of book cover designer and marketer, with Amelia serving as editor. Her experience in photography and web design supports her endeavors in these roles. Slatin's photography work help to shape her writing and thrives through the thousands of images living on her website, TomSlatin.com. In 2022, Slatin published her photography book, Reckless and Wild, a follow up to her 2019 release Entropy. Like its predecessor, it immortalizes abandoned historic places now lost forever to fire, decay, or intentional demolition