Paris Was Yesterday 1925 1939

In 1925 Flanner began her New Yorker "Letter from Paris," from which most of the pieces in this collection are drawn. They give an incomparable view of French life before World War II. Edited by Irving Drutman; Index.

In 1925 Janet Flanner began dispatching her famous New Yorker "Letter from Paris, " from which most of the pieces in this collection are drawn. Together, they give an incomparable view of French political, social, and cultural life in the years between the electrifying debut of Josephine Baker and the evacuation of Paris at the outbreak of war. Flanner writes with equal eloquence of Isadora Duncan's art, Stavisky's swindling, and the Munich accord. She registers the impact of Americans on Paris -- Lindbergh, Mae West, Hemingway -- and marks the passing of the great and near-great, from Ravel and La Goulue to Clemenceau and Mme. Curie. Some of her most riveting reports deal with crimes of passion. And she tells little-known facts about the chief executioner of France and the heartbreaking exodus from Spain into France during the Spanish Civil War. In a sequence of dazzling vignettes and essays, Paris is captured in its golden hour.

In 1925 Janet Flanner began writing a fortnightly 'letter from Paris' for the nascent New Yorker. This is a collection of those letters written in the 1920s and 1930s, one of the most fascinating periods in the city's history.

Originally published more than twenty years ago and winner of a Lambda Literary Award, Paris Was a Woman is a rare profile of the female literati in Paris at the turn of the century. Now with a new preface and illustrations, this "scrapbook" of their work—along with Andrea Weiss' lively commentary—highlights the political, social, and artistic lives of the renowned lesbian and bisexual Modernists, including Colette, Djuna Barnes, Gertrude Stein, Alice B. Toklas, Sylvia Beach, and many more. Painstakingly researched and profusely illustrated, it is an enlightening account of women who between wars found their selves and their voices in Paris. A wealth of photographs, paintings, drawings, and literary fragments combine with Weiss' revealing text to give an unparalleled insight into this extraordinary network of women for who Paris was neither mistress nor muse, but a different kind of woman.

Traces the course of four brilliant lives through anecdote, analysis, reportage, and opinion. Presents a portrait of a time in Paris history, the late 1940s and 1950s, during which a nation recovered from a catastrophe, a new art was being forged, and new ideas and values flourished.

A companion volume to What I Saw, Roth's critically acclaimed reports from Berlin