İçindekiler:
Mary MacLane, tam Mary Elizabeth MacLane, (1 veya 2 Mayıs 1881, Winnipeg, Manitoba, Kanada doğumlu) - 6 Ağustos 1929'da ölü bulundu, Chicago, Illinois, ABD), Kanada doğumlu Amerikalı yazar ve açık otobiyografik hesabı olan öncü feminist 192'de yazılan ve 1902'de kendisi tarafından Mary MacLane'nin Hikayesi olarak yayınlanan hayatının en iyi satıcısı oldu ve onu yirmi yıldır ünlü yaptı. “Butte'nin Vahşi Kadını” olarak adlandırdı ve erotik arzuları ifade etmek için Modernist bir itiraf tarzı kullandı. Kadınların hayatlarına feminist ilgi, 1970'lerde çalışmalarını canlandırıncaya kadar büyük ölçüde unutuldu.
araştırır
100 Kadın Trailblazers
Cinsiyet eşitliğini ve diğer konuları ön plana çıkarmaya cesaret eden olağanüstü kadınlarla tanışın. Zulmün üstesinden gelmek, kuralları çiğnemek, dünyayı yeniden canlandırmaya veya isyan etmeye kadar, tarihin bu kadınlarının anlatacak bir hikayesi var.
Yaşam ve eserler
İskoç ve Kanada Presbiteryen ailesinden doğan MacLane, dört çocuktan biriydi. Babası James, sığır sürülerine ve düz kayıklara yatırım yaparak Kanada hükümeti için bir ajan olarak çalıştı. Mary dört yaşındayken, Minnesota eyaletindeki Fergus Falls'a taşındı ve bu kitapta “Çocuk İlkelinin Otobiyografisi” (1910) adlı büyüleyici bir denemede bahsedildi. Babasının 1889'daki ölümünden kısa bir süre sonra aile Montana'ya ve nihayetinde daha sonra intihar eden annesinin “gezgin bir fotoğrafçı” Henry G. Klenze ile evlendiği patlama yaşayan bir bakır madenciliği kasabası olan Butte'ye taşındı. Ailenin evinde MacLane, 13 Ocak - 13 Nisan 1901 tarihleri arasında iç yaşamı ve kendini algılamasıyla ilgili günlük bir günlük yazdı ve 28 Ekim tarihli bir sözle yazdı. Bu dergide çalışmalarına “üç aylık rekor hiçlik,”Ama açıkça bir günlük demeyi reddediyor:“ Bu bir günlük değil. Bu bir tasvir. Çıplaklığımda gösterilen iç yaşamım. ” (Başlangıçta Şeytan'ın Gelmesini Bekliyordum diye adlandırdı, ancak yayıncısı Mary MacLane'in Hikayesi'ni kendisi tarafından yayınladı.)
On the first page of Story, MacLane declares her uniqueness:
I, of womankind and of nineteen years, will now begin to set down as full and frank a Portrayal as I am able of myself, Mary MacLane, for whom the world contains not a parallel.
I have in me a quite unusual intensity of life.
I am a genius.
I am quite, quite odd.
She rejects the role of domestic heroine and instead characterizes herself as (to use a modern-day term) a “bad girl”: “I long to cultivate my element of Badness.” Her use of confession was strategic, part of her condemnation of moral pretension. In Story she is as likely to denounce herself as a thief and an egotist as to declare herself a genius. “Every day of my life I am playing a part,” she explains; those labels represent an expression of her trying on autobiographical roles.
While MacLane’s family is all but invisible in Story, her literary antecedents are prominent. Although decrying her status as a woman—“it is a hard and bitter thing to be a woman”—she read many women writers, including Charlotte Brontë, George Eliot, and, above all, Marie Bashkirtseff, a Russian diarist and artist who lived primarily in France. Bashkirtseff died at age 25 and left as her legacy a diary declaring her genius and desire for fame. MacLane modeled her self-stylization on her European forebear, but she proclaims that her own “Portrayal” has “a stronger individuality.” MacLane frames her outbursts of ennui as a reaction to the “sand and barrenness” of Butte, but they are also indebted to the world-weary fin-de-siècle attitude of contemporary writers influenced in particular by Charles Baudelaire and, later, Joris-Karl Huysmans. Her journalistic eye for detail was likely derived from reading newspapers and magazines. While she denounced the then thriving mining town as “an empty, damned weariness” full of people who like “fried egg plant, fried beef-steak, fried pork-chops, and fried French toast,” she also lauded its diversity: “For mixture, for miscellany—variedness, Bohemianism—where is Butte’s rival?”
The primary characters in Story constitute an odd romantic group: the man-Devil; MacLane’s high-school teacher, Fannie Corbin; and her self-declared male counterpart whose personality she shares, Napoleon Bonaparte. As originally written, Story bore this dedication (though it did not appear in the book when first published):
To the Devil Of the Steel-Gray Eyes, Who One Day may Come—Who Knows?—I Dedicate, with the Mad Love of A Young Weary Wooden Heart, This, My Book.
Throughout her entries MacLane characterizes the Devil as a fascinating man with eyes both “quizzical” and “tender.” She holds conversations with him as he teaches her about love and challenges her illusion that marriage brings happiness. MacLane also pines for Corbin, the “anemone lady,” “my first love,” who has moved away. Professing her love in several entries, she salutes Corbin as “the only one who has ever been kind to me.” MacLane’s later liaisons in Greenwich Village with both women and men led later scholars to view her as a proto-lesbian pioneer, although MacLane denounced lesbianism as a “warped” predilection. Nonetheless, she had lesbian encounters in New York and Chicago and reasserted her desire in a later memoir, I, Mary MacLane.
After The Story of Mary MacLane—by Herself was published, MacLane moved to Boston and then to New York City, where she was both celebrated as a sensation—including in a Fourth of July parade in which she lay on a silk divan—and criticized for Story’s shocking solicitation of the Devil and its frank and brazen musings on sexuality, friendship, and herself. Readers of tabloid newspapers were polled on their views of her; “MacLane Clubs” were started; and newly rebellious young women found in her a champion. After her meteoric rise, however, MacLane had difficulty maintaining her success. Her second memoir, My Friend Annabel Lee (1903), written as conversations with an imaginary friend, was a flop, and she repeatedly complained to her publisher about being impoverished. Returning to Butte in 1909, she began writing editorials for the Butte Evening News with memorable titles such as “A Waif of Destiny on the High Seas” and “Mary MacLane Meets the Vampire on the Isle of Treacherous Delights.” For years she worked on another memoir, I, Mary MacLane: A Diary of Human Days, which was published in 1917; perhaps owing to its lack of scandalous revelations, it did not attract many readers.
MacLane also developed a screenplay for a feature film with Essanay Studios, which she based on an article in which she characterized male-female relationships as a “fascinating game.” Released in 1918 as Men Who Have Made Love to Me, the film (now lost) starred MacLane as a vamp encountering six types of men. It received mixed reviews and was banned by censors in some U.S. states, but it achieved enough success to enable MacLane to move to Chicago. There, however, she fell into obscurity and poverty, and a decade later she was found dead in a rooming house on the city’s South Side. “What mystic or glandular voices spoke to Mary, bidding her go forth into the world as the Jeanne d’Arc of the Warm Mammas?” askeda laudatory eulogy in The Chicagoan.
Significance
A revival of MacLane’s work, particularly The Story of Mary MacLane—by Herself, occurred when feminist critics began recovering women’s out-of-print life narratives from archives in the 1970s. Historians praised her as a passionate and intriguing literary voice, and Patricia Meyer Spacks’s landmark The Female Imagination (1975) devoted a chapter to MacLane as an artist carving out a space of self-expression through devotion to a Romantic ideal. She has slowly been incorporated into the canon of Western women writers, and her work gained a wider audience through collections such as Tender Darkness: A Mary MacLane Anthology (1993), edited by Elisabeth Pruitt, and Human Days: A Mary MacLane Reader (2014), a complete but thinly annotated collection of her three narratives as well as her editorials and selected letters, edited by Michael R. Brown.
İlk modern Amerikan ünlülerinden biri olan MacLane, nihayetinde trajik olsa da büyüleyici bir figür. Ernest Hemingway ve Gertrude Stein'ın dikkatini çeken yenilikçi bir Amerikan Modernisti ilan edildi. Mary MacLane'in Hikâyesi'nde - ve doğal olarak - kendi vücudunun inatçı maddiliğine - “iyice zevk aldığım ve tutkuyla sevdiğim takdire şayan genç kadın bedenime” ve doğal olarak dikkat çekti. “Taş Yığını ve
Kireç Fıçısı ”, zeytin, soğan ve diş fırçaları. Decorum'un küstahça sorgulamasında MacLane, macera dolu, yaratıcı, meydan okuyan Yeni Kadına hayat için aç ve daha önce beklenmedik olasılıkların duyarlılığını aktarır.
