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It's 1895. Amid laundry and bruises, Rina Pierangeli Faccio gives birth to the child of the man who raped her – and who she has also been forced to marry. Unbroken, she determines to change her name; and her life, alongside it.
1902. Romaine Brooks sails for Capri. She has barely enough money for the ferry, nothing for lunch; her paintbrushes are bald and clotted... But she is sure she can sell a painting – and is fervent in her belief that the island is detached from all fates she has previously suffered.
... In 1923, Virginia Woolf writes: I want to make life fuller – and fuller.
Sarah Bernhardt – Colette – Eleanora Duse – Lina Poletti – Josephine Baker – Virginia Woolf... these are just a few of the women sharing the pages of a book as fierce as it is luminous. Lush and poetic; furious and funny; in After Sappho, Selby Wynn Schwartz has created a novel that celebrates the women and trailblazers of the past – their constant efforts to push against the boundaries of what it means, and can mean, to be a woman – that also offers hope for our present, and our futures.
It's 1895. Amid laundry and bruises, Rina Pierangeli Faccio gives birth to the child of the man who raped her – and who she has also been forced to marry. Unbroken, she determines to change her name; and her life, alongside it.
1902. Romaine Brooks sails for Capri. She has barely enough money for the ferry, nothing for lunch; her paintbrushes are bald and clotted... But she is sure she can sell a painting – and is fervent in her belief that the island is detached from all fates she has previously suffered.
... In 1923, Virginia Woolf writes: I want to make life fuller – and fuller.
Sarah Bernhardt – Colette – Eleanora Duse – Lina Poletti – Josephine Baker – Virginia Woolf... these are just a few of the women sharing the pages of a book as fierce as it is luminous. Lush and poetic; furious and funny; in After Sappho, Selby Wynn Schwartz has created a novel that celebrates the women and trailblazers of the past – their constant efforts to push against the boundaries of what it means, and can mean, to be a woman – that also offers hope for our present, and our futures.
Due to publisher restrictions the library cannot purchase additional copies of this title, and we apologize if there is a long waiting list. Be sure to check for other copies, because there may be other editions available.
Due to publisher restrictions the library cannot purchase additional copies of this title, and we apologize if there is a long waiting list. Be sure to check for other copies, because there may be other editions available.
About the Author-
Selby Wynn Schwartz is the author of The Bodies of Others: Drag Dances and their Afterlives, a finalist for the Lambda Literary Award in LGBTQ Nonfiction. Her novella, A Life in Chameleons, won the 2021 Reflex Press Novella Award.
Reviews-
Starred review from October 17, 2022 Schwartz’s brilliant debut novel (after the critical study The Bodies of Others: Drag Dances and Their Afterlives) recreates the lives of feminists in the early 20th century. The collective first-person “we” narrator—a Greek chorus devoted to the female poet Sappho—weaves the stories of writers, painters, and performers who, like Sappho, are attracted to women and are determined to become their authentic selves through art. Many of the threads revolve around Lina Poletti, who thrives in her classical studies in Bologna despite Italian laws restricting the rights of women. She writes poetry and plays about women, and has romances with another writer, Sibilla Aleramo, who’d been forced to marry the rapist who got her pregnant; and the stage actor Eleonora Duse, best known for her portrayal of Nora in A Doll’s House. They, along with expat American writer Natalie Barney, poet Renée Vivien, and painter Romaine Brooks, carve out a place in European society during a time when lesbianism is ignored, not criminalized. Then comes WWI: Brooks and others drive ambulances at the front, Virginia Woolf begins writing about Cassandra, and Poletti writes war poems. At the war’s end, a British parliamentarian accuses an actor of lesbianism in the press, thus placing women’s sexuality under intense public scrutiny. As the chorus narrates, “we were plunged back into a history we had barely survived the first time.” Schwartz’s account of what happens next as the central characters resist oppression speaks volumes on their efforts, and she contributes her own work of art with this irresistible narrative. Schwartz breathes an astonishing sense of life into her timeless characters.
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Galley Beggar Press
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