The Story of Mary MacLane by Mary MacLane

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Mae Tinee of the Chicago Daily Tribune noted in a late article that the film was highly anticipated C3. When finally released, however, most of the reviews were not positive. She looks and acts like a headache. Reviews for the film were not uniformly negative, however. MacLane publicly declared that she hated her acting in the film, but in late , she was arrested for stealing the dresses that had been used in filming.

What else could I write about? What else is more interesting? She moved to a black neighborhood on the South Side of Chicago, where her companion, a black artist named Harriet Williams, cared for her. At forty-eight, Mary MacLane died in utter obscurity, surrounded by hundreds of newspaper clippings. Barbas, Samantha. Los Angeles: University of California Press, Halverson, Cathryn. Maverick Autobiographies. Madison: University of Wisconsin Press, Penelope Rosemont. Chicago: Charles H.

Mary MacLane

Kerr, Nothing of either project was published - MacLane is reported to have destroyed several books she finished in the s - but she appeared to enjoy being far away from reporters and fans. Without fuel, the initial sensation had faded by late , and by people were asking what had become of her. She resurfaced now and then, as with a brief series of feature articles commissioned by the Denver Post - her name still had cachet - but during this period she remained focused on a non-public life.

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She began summering with Branson in St. Augustine , Florida and - in echoes of her attraction to tempts of the big city - discovered an attraction to and, like her father, a skill at gambling.

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  • She had made a fortune from her first book, and one lucky turn at a gambling table brought her to-1 odds, but money was no longer endless. He laudably undertook to pay the corporate debt despite having no personal obligation, and for several years was chased, charmed, threatened, and flirted with by MacLane. Her accounts of impoverishment to Stone make curious reading against her later accounts of discovering in those years a taste for hedonistic living, which played out in a strikingly female-only New York City lifestyle depicted with startling candor in her last great series of feature articles two years later.

    In , for reasons unknown, Branson and MacLane parted ways. Her abrupt disappearance from Rockland made the papers, which speculated on MacLane's being financially embarrassed, but in interviews shortly thereafter she claimed she had simply moved to Boston.

    The Story of Mary MacLane by Herself

    MacLane was gratified but skeptical at its working out; she moved to Manhattan, but Hearst's most powerful editor disliked her work and she left soon after. MacLane again pursued Stone for funds while her city life motivated her to begin a serious book-project - a set of character sketches of the extraordinary New York women she was meeting. She contacted the Croesusian Butte mogul F. Augustus Heinze - then hamstrung by multiple indictments over his involvement in the Panic of - for a loan on anticipated royalties.

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    He was apparently uninterested, but MacLane worked on the book and threw herself deeper into a hedonistic, lesbian-tinged Manhattan underworld that to this day is inadequately documented or understood. She worked at the book and caroused among her source material until her financial condition became so unsteady that her stepfather came to New York, convinced Stone to pay the remainder of her royalties, and took her back to where she had departed from on the wings of the book that sang out her hatred of the place: Butte.

    MacLane arrived at the end of and found the night view from the train of the town lights sparkling on the valley floor magical. She moved back in with her family and penned a feature article for one of Butte's leading papers on her return, updating the populace on her doings since and teasingly proclaiming her love for the place and the people, dramatically concluding "I am once again a citizen of Butte.

    Six weeks later, MacLane returned to a precarious health. As soon as she was able, she wrote a feature article describing her illness experience and thanking the people of Butte for the unexpected outpouring of sympathy and care. Her joy in surviving and returning to life is palpable, and this feature, written just before she turned twenty-nine, inaugurates her final feature article arc that would see some of her best writing.

    Her articles over the next two months - written, as she later recalled, on a hammock on the porch "in the role of a yellowed skeleton" - ranged from depictions of the men who had loved her to her only sustained reminiscence of her tomboy childhood to - in perhaps her most daring revelation, likely cannibalizing work from her New York book never published, probably never completed - two articles on the women she had loved.

    By she had become devoted to vaudeville and formed close friendships with such British musical hall stars as Marie Lloyd , her sister Alice , and Cecilia Loftus. Their influence is palpable in this final circuit of pieces, and explicit: "If only the citizens of Butte would regard me as vaudeville and read me, with a patter and kettle-drum chorus, only to be entertained! But no, the stuff comes out on Sunday and so they read it at breakfast and assuage their consciences for not going to church by knocking it and me.

    After the features had run their course, MacLane returned for the most part to public silence. Her pieces had been syndicated nationally, and the agent responsible - Calvin Harris, never publicly mentioned by her - would play a significant role in her professional life for the next few years. With Harris a more strident note enters MacLane's persona: the announced pursuits - from reporting on prize fights for a national syndicate to an announced " problem play " to be put on in Chicago to traveling to war-slashed Europe as a volunteer nurse - bear a show-off tone dissonant to the tenor of MacLane's career.

    Despite an initial appearance at a bout in Thermopolis , Wyoming, none of these plans were ever realized, and one suspects conflict on Mary's part in participating. In I Await the Devil's Coming MacLane had pressed out upon the world - for all the complaints and hand-wringing - a martial, armored feminist persona, and in My Friend Annabel Lee she had put it in abeyance and been far more receptive. In her last book, MacLane tears off the armor and, as she writes, the epidermis, and in a series of prima facie separated songs of herself discloses, through a new hyper-modernist style, her inner doubts, fractures, and fear of disintegration in sometimes quivering intimacy.

    She appears to have worked at the book in snatches but with great intensity - her testifying in at the court trial of a roadhouse operator accused of running a bawdy house testifies that her tastes remained unchanged.

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    • When I, Mary MacLane was published in , a few months after the country had entered World War I, it was to significant press attention, which almost uniformly spoke of her sensation as epochal but a thing of the past. Left largely alone was the issue of MacLane's actual intent: perhaps unavoidably, reporters insisted that in she had wanted and thought only of an uproar and in was just the same.

      The book's jacket and advertisements contained laudatory blurbs from MacLane's acquaintance Gertrude Atherton and from D. Lawrence's friend Witter Bynner and, though it inspired public notice and discussion, appears to have sold only respectably well and not to have been the comet the publisher had expected.

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      In a letter to Harriet Monroe, who had penned a thoughtful criticism in Poetry Magazine, William Morrow - who would found a great eponymous publishing house nine years later - expressed surprise that it had not done better, commenting that he had not thought writing of such quality was still being done in the United States. She moved out at the very month that Butte's metals production crested and began relentlessly heading downward, and relocated to Chicago, where Harriet Monroe still lived and worked running Poetry Magazine.

      While getting settled there, she was approached by a prominent Chicago movie company - Essanay Studios, home to such stars as Charlie Chaplin , Gloria Swanson , and Wallace Beery - to make a film of her Butte article on men who had loved her. Spoor as producer - and Mary MacLane as screenwriter, subject, narrator, and star. Though without acting experience, MacLane agreeably transformed herself into a screen vamp hungered for by the various male types under her counter-objectifying microscope - the Callow Youth, the Literary Man, the Younger Son, the Prize Fighter, the Bank Clerk, and finally that "most exasperating" - the Husband of Another.

      Her director praised her talent and spoke of MacLane's ability to triumph over any circumstance; her personality, he commented, reminded him of an actress he had known some years earlier: Sarah Bernhardt. The film showed nationally, was somewhat controversial and banned in at least one area , created some of the usual press furor and perplexed criticism, and in time got all the way to the Southern Hemisphere to a rousing reception.

      It was still on tour several years later in certain markets, but a cheeky, breezy feature article for Photoplay Magazine on her film-star adventure and prior movie fanhood would prove to be MacLane's final public work. The film was a repeat in essential ways of her first public performance. It broke barriers socially, thematically, and technically; it was heatedly discussed, attracted international attention - but the central point, and the profound unusualness of what MacLane was pulling off, was largely missed.

      She was born too early and was, at least half-knowing it, making art for a future audience.

      The Indextrious Reader: All Mary Maclane, All the Time

      With this, MacLane's public career ended. She made national news a year later, in , with an arrest in connection with gowns from the film that had never been returned to the modiste. The matter - which MacLane said was due to a misunderstanding - was settled without further legalities, and apart from an occasional letter to the editor MacLane was publicly heard from no more. She remained in touch with Harriet Monroe, who would later recall MacLane's failing health in the s - she had never regained full vigor after her illness of - but evidence shows that MacLane found a home in Chicago among anarchists and progressive writers and other creatives who frequented Chicago's club scene.

      Part 10 The Story of Mary MacLane Mary MacLane

      One reminiscence, likely from the early s, portrays MacLane taking the stage at a Chicago club to read from "Men Who Have Made Love to Me" - having been introduced, without irony, as the most intelligent women in the United States. As the s went on, the press began to ask - with increasingly sincere interest - where she had gone. With unprecedented frankness, the year-old author revealed her utter scorn for conformity and Puritanism, her refusal to accept what she regarded as the stifling boredom and pettiness of middle class life, and her passionate insistence on sexual freedom, a life of adventure and excitement.

      Not for nothing has she been hailed as the first "New Woman" in literature, the first flapper, and a precursor of surrealism. This lively collection features the complete text of that signature work, plus a generous selection of her other writings, reprinted here for the first time; and edited and introduced by Penelope Rosemont. Two special sections focus on her short but sensational movie career and her long association with the city she eventually chose as her home; and includes critical appreciations of her work by other Chicago writers: Clarence Darrow, Henry Blake Fuller, and Harriet Monroe.

      No more marvelous books was ever born of a sensitive, precocious brain. More in this topic Disrupting the Bystander A.

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      The Story of Mary MacLane by Mary MacLane The Story of Mary MacLane by Mary MacLane
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