A Chance Meeting, page 40
Shaw, George Bernard, 272
Shaw, Robert Gould, 78, 187, 309
Sheridan, Philip, 33, 35, 62, 63
Sherman, William T., 33, 35, 62
Silence (Cage), 266–67
Singing Steel (Hurston), 208, 212, 215
Siqueiros, David, 197
The Sixties (Avedon), 286, 312
A Small Boy & Others (Henry James), 8, 94
Small’s Paradise, 177
Smith, Al, 190
Smith, Bessie, 175–76, 180, 209, 224, 227
Smith, Jerome, 285
Smithsonian Institution, 265
“Smoke, Lilies and Jade” (Nugent), 178
Social Democratic Party, 103
Society of Independent Artists, 139, 141
Sommer, William, 155
The Song of the Lark (Cather), 119, 149
Sontag, Susan, 238
The Souls of Black Folk (Du Bois), 74, 118, 179, 192
South Florida Baptist Association, 173
Soyinka, Wole, 281
Spanish-American War, 88
Specimen Days (Whitman), 50
Spingarn, Amy, 183
Spingarn, Arthur, 183
Spingarn, Joel, 183
Spingarn Medal, 183, 281
The Spoils of Poynton (Henry James), 43, 91
Spring Showers (Stieglitz), 125
“Spunk” (Hurston), 172
Stafford, Jean, 250
Standard Oil, 66
Steichen, Clara Smith, 100, 104, 121, 122, 123
Steichen, Edward: and art, 121–26; and Avedon, 260; and Brady, 102; and Brancusi, 122, 219; and Cather, 145–46, 149, 151; and Chaplin, 167, 168, 260; and Condé Nast publications, 102–3; and Duchamp, 260; and Moore, 260; in Paris, 121–26; Rauschenberg work bought by, 263; and Steins (Gertrude and Leo), 121–26; and Stieglitz, 96–105, 121–22, 123–26, 141; and World War I, 102
Steichen, Lilian (sister), 103
Steichen, Lizzie (daughter), 104
Steichen, Mary (mother), 104
Steichen the Photographer (Steichen and Sandburg), 103
Stein, Gertrude: and art, 76, 84, 122–26; and Bishop, 204; and Cage, 262, 267; and Chaplin, 136–37; death of, 138, 230; and Duchamp, 123, 306; and Grant, 135; at Harvard, 76–84; and James (Henry), 81–84, 92, 134; and James (William), 76–84, 134; Leo’s relationship with, 82, 83, 84, 126, 131; in Paris, 121, 122–26; and Steichen, 121–26; and Stieglitz, 123–26; third-person style of, 80, 310; and Toklas, 122, 123, 124–25, 129, 131, 132, 132–38; U.S. tour of, 133–37, 208, 215–16; and Van Vechten, 127–38, 141, 177, 208; and Whitman, 134; works/lectures of, 82, 83, 124, 125, 129–31, 132–33, 134, 135, 136, 137, 204
Stein, Leo: and art, 84, 121–26; in Europe, 80, 83; Gertrude’s relationship with, 82, 83, 84, 126, 131; at Harvard, 76, 79–80; and James (William and Henry) brothers, 76, 79–80, 81–84, 124; in Paris, 121–26; and Stieglitz and Steichen, 123–26
Stein, Michael, 121, 122
Stein, Sarah, 121, 122
Stella, Joseph, 139–40
Stevens, Wallace, 201–2, 205
Stevenson, Robert Louis, 107 Stieglitz, Alfred: and art, 121–22; and Crane, 154–62, 199; death of, 102, 104; and Delaney, 158, 190, 225; and Duchamp, 141–43, 155; and Evans, 161; and Moore, 158, 300; and O’Keeffe, 100, 103, 104, 105, 141, 156, 157, 162; in Paris, 123–26; photos of, given to Fisk, 279; show of work of, 154; and Steichen, 96–105, 121–22, 123–26, 141; and Steins (Gertrude and Leo), 123–26; and Twain, 67; and Van Vechten, 131, 133; Whitman’s influence on, 50, 156; works of, 125, 155–56
Stieglitz, Edward (father), 100, 123
Stieglitz, Emmy (wife), 98, 100–1, 113, 123
Stieglitz, Kitty (daughter), 104
Stieglitz, Lee (brother), 100, 104
“The Story of a Year” (Henry James), 38
Stowe, Harriet Beecher, 17
Strand, Beck, 103, 162
Strand, Paul, 101, 103, 162
Stravinsky, Igor, 127, 129, 148
Student Nonviolent Coordinating Committee, 290
Sturges, Jonathan, 91–92
Styron, William, 243, 247
Sullivan, Anne, 70, 71, 72
Sullivan, Noël, 277
“Sunday Morning Apples” (Hart Crane), 155, 156, 162
“Superman Comes to the Supermarket” (Mailer), 246
The Suppression of the African Slave-Trade to the United States of America, 1638–1870 (Du Bois), 71
Swedenborg, Emanuel, 13
Taglioni, Maria, 235, 237
Taglioni’s Jewel Casket (Cornell), 235–36
Tagore, Rabindranath, 166
Talks to Teachers on Psychology (William James), 72
Tanguy, Yves, 218, 219
Tate, Allen, 194, 309–10
Taylor, Zachary, 9
Taylor’s (New York City), 8
Tell My Horse (Hurston), 215
Temple, Minny, 40, 43
Tennyson, Alfred Lord, 17
“Ten Thousand Words a Minute” (Mailer), 246
Terrell, Ernie, 298
Terry, Ellen, 88
Thackeray, William, 11, 12, 17, 114, 118, 201
Their Eyes Were Watching God (Hurston), 215, 279
Their Wedding Journey (Howells), 38, 53
Thompson, Louise, 182
Thompson’s Dining Saloon (New York City), 8
Thomson, Virgil, 132, 219
Thoreau, Henry David, 18, 267
Three Lives (Stein), 131
“Three Typical Workingmen” (Annie Adams Fields), 24
Thurman, Wallace, 176, 178
Ticknor & Fields, 17
Time (magazine), 285
Toklas, Alice B.: American tour with Stein of, 133–37, 208, 215–16; and Delaney, 230, 232; and Stein, 122, 123, 124–25, 129, 131, 132, 133–38; and Van Vechten, 129, 137, 138, 208; works of, 135–36
Tolstoy, Leo, 24, 42, 60, 242
Toomer, Jean, 159, 162
Toots Shor’s (New York City), 295, 296, 297
The Tory Lover (Jewett), 92, 93, 96
“To the Person Sitting in Darkness” (Twain), 66
A Tramp Abroad (Twain), 67
A Traveler from Altruria (Howells), 23
The Troll Garden (Cather), 106, 115
Tudor, David, 261, 262, 307
Turgenev, Ivan, 37, 42, 116, 118
The Turn of the Screw (Henry James), 91
Twain, Mark: and American Anti-Imperialist League, 88–89; autobiography of, 69; Cage as similar to, 262; and Cather, 106–12; and Civil War, 65; Connecticut home of, 58; death of, 61; in Europe, 67; family of, 56, 59, 68; Frank’s essay on, 169; and Grant, 62–69, 112; history board game of, 66; and Howells, 23, 52–61, 62, 64, 65, 69, 108, 110, 111, 112; and Hurston, 215; and James (Henry), 58; and Keller, 73; lecture circuit of, 67; and money, 66–69; seventieth-birthday party of, 106–8, 110–11, 112; and Spanish-American War, 88; works of, 52–53, 54–55, 57, 59, 60, 65, 66, 67, 68, 107, 109
“Two” (Stein), 129–30
291 Gallery (New York City), 100, 102, 104, 121, 125, 141, 157–58
Twombly, Cy, 263
United Artists, 169
Upshure, Luke Theodore, 186, 192
Vanderbilt, Mrs. William K., 140
Vanderbilt, William Henry, 66, 69
Van Gogh, Vincent, 231
Vanity Fair (magazine), 102, 175
“Van or Twenty Years After” (Stein), 132
Van Vechten, Carl: and Avedon, 277, 280–84; and Cather, 145, 209; death of, 284; and Delaney, 209; and Du Bois, 179, 209, 269, 279; and Duchamp urinal, 140; father of, 176–77; and Hughes, 133, 174, 175–76, 178, 183, 184, 189, 209, 213, 276–84; and Hurston, 133, 175, 176, 177–78, 183, 184, 208–16, 279, 280; illustrator for, 193; letters of, 276–80; and Mailer, 241, 296–97; and Moore, 297; as photographer, 210, 213, 215; and The Rite of Spring, 127–29, 128, 130; and Smith-D’Alvarez story, 175; and Stein, 127, 138, 141, 177, 208; and Stieglitz, 131, 133; and Toklas, 129, 137, 138, 208; works of, 176–77, 178, 179, 209, 279
The Varieties of Religious Experience (William James), 49, 77–78
Vestvali, Felicita, 50
Viardot, Pauline, 116
Vidal, Gore, 243
Vietnam War, 299, 303, 308
View (magazine), 233
“A Vista of Ninety Fruitful Years” (Du Bois), 269–70
Vogue (magazine), 102
Wagner, Richard, 78, 148
Waiting for Godot (Beckett), 282
Waldorf Café (New York City), 227
Walkaround Time (Cunningham dance), 306
Walker, A’Lelia, 173–74
Walk Together Chillun! (Hurston), 213
Wallace, George, 288
Warren Commission, 292
Washington Square (Henry James), 42
“Water” (Robert Lowell), 252
Waters, Ethel, 133, 177, 186, 209, 226
“The Way It Came” (Henry James), 92
The Ways of White Folks (Hughes), 184
“The Weary Blues” (Hughes), 172, 175, 176
Weber, Max, 100, 122, 157
Webster, Charles, 67, 112
Webster, Daniel, 9
Weil, Susan, 263
Weir, Robert, 34
Welles, Orson, 213, 224
Wells, H. G., 89, 270
Welty, Eudora, 151
Wharton, Edith, 97
“What is English Literature” (Stein), 134
What Is Remembered (Toklas), 124
What Maisie Knew (Henry James), 91
Whistler, James McNeill, 34, 91–92, 123, 125
White, Clarence, 98
White, Walter, 209
White Buildings (Hart Crane), 171
Whitehead, Alfred North, 124
“The White Negro” (Mailer), 243
Whitman, Walt: and Bishop, 206, 255; and Brady, 46–51; and Cather, 118; and Crane (Hart), 155, 156, 159; as elderly man, 27; Howells, 20–22, 23, 24–27; and Hughes, 176, 278; influence on Stieglitz of, 49, 156; and James (Henry), 50, 94; and James (William), 49–50; and Lincoln, 22, 26–27, 50; and Mailer, 312; and objectivity of photography, 260–61; and Stein, 134; works of, 48–49, 50, 51
Whitney, Mrs. Harry Payne, 140
Whitney Studio Galleries (New York City), 186, 188
Whittier, John Greenleaf, 27, 57, 111
“Why the Mocking Bird Is Away on Friday” (Hurston), 180
“Why the Sister in Black Works Hardest” (Hurston), 180
Wilde, Oscar, 49, 90, 166, 189
Wilder, Thornton, 137
Willa Cather Living (Lewis), 116, 150–51
Williams, William Carlos, 201–2
Wilson, Edmund, 162
“The Wine Menagerie” (Hart Crane), 162
The Wings of the Dove (Henry James), 43, 91
Wise, Herbert, 160
With Hidden Noise (Duchamp), 304
A Woman of Paris (Chaplin film), 164, 168, 170
Woolf, Virginia, 91
“Words for Hart Crane” (Robert Lowell), 254–55, 259
Works Progress Administration, 213
World Series, 296
World War I, 94, 102, 109–10, 122, 135, 141
World War II, 126, 199, 253, 270, 310, 311
Wright, Richard, 132, 228
Yaddo (artist colony), 254
A Year from Monday (Cage), 303
“Year of Meteors” (Whitman), 21
Youth and the Bright Medusa (Cather), 149
Zola, Emile, 88
CREDITS AND PERMISSIONS
COVER
Beauford Delaney (1901–1979), Untitled (Village Street Scene), 1948, oil on canvas, 29 x 40 inches / 73.7 x 101.6 cm, signed; collection of the Terra Art Foundation; © Estate of Beauford Delaney by permission of Derek L. Spratley, Esquire, Court Appointed Administrator; courtesy of Michael Rosenfeld Gallery LLC, New York, NY.
ILLUSTRATIONS
Henry James, Sr., and Henry James, Jr., by Mathew Brady, 1854. MS Am 1092.9 (4597.6), Houghton Library, Harvard University.
Mathew Brady by the Mathew Brady Studio, circa 1861. National Portrait Gallery, Smithsonian Institution.
William Dean Howells, 1866. The New York Public Library Picture Collection.
Annie Adams Fields, by Southworth and Hawes, 1861. Metropolitan Museum of Art.
Ulysses S. Grant by Mathew Brady, 1864. National Portrait Gallery, Smithsonian Institution.
Walt Whitman by Mathew Brady, 1867. National Portrait Gallery, Smithsonian Institution.
Mark Twain. The Library of Congress.
Henry James and William James, 1902. MS Am 2898, Houghton Library, Harvard University.
Edward Steichen, self-portrait. The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1933. (33.43.1). © 2023 The Estate of Edward Steichen / Artists Rights Society (ARS), New York.
Alfred Stieglitz by Edward Steichen, 1907. The Metropolitan Museum of Art, Alfred Stieglitz Collection, 1955. (55.653.10).
Sarah Orne Jewett. MS Am 1743.26 (16), Houghton Library, Harvard University.
Carl Van Vechten, self-portrait, 1933. The Library of Congress. By permission of the Carl Van Vechten Trust.
Gertrude Stein by Carl Van Vechten, 1934. The Library of Congress. By permission of the Carl Van Vechten Trust.
Willa Cather by Edward Steichen, 1927. Museum of Modern Art.
Katherine Anne Porter, circa 1930. Katherine Anne Porter papers, Special Collections and University Archives, University of Maryland Libraries.
Hart Crane by Walker Evans, 1929–30. The Metropolitan Museum of Art, Walker Evans Archive, 1994 (1994.255.82). © 2023 Walker Evans Archive, 2023 / Artists Rights Society (ARS), New York. Photograph © The Metropolitan Museum of Art/Image Source: Art Resource, New York
Charlie Chaplin by Edward Steichen, 1925. The Museum of Modern Art.
Langston Hughes by Carl Van Vechten, 1936. The Library of Congress. By permission of the Carl Van Vechten Trust.
Zora Neale Hurston by Carl Van Vechten, 1934. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library, the James Weldon Johnson Memorial Collection. By permission of the Carl Van Vechten Trust.
Joseph Cornell, circa 1939–40. Smithsonian American Art Museum, Washington, D.C. / Art Resource, New York.
Beauford Delaney by Carl Van Vechten, 1953. The Library of Congress. By permission of the Carl Van Vechten Trust.
Norman Mailer by Carl Van Vechten, 1948. The Library of Congress. By permission of the Carl Van Vechten Trust.
Robert Lowell by Richard Avedon, 1962. © The Richard Avedon Foundation.
Elizabeth Bishop, 1954. Archives and Special Collections, Vassar College Library.
John Cage and Merce Cunningham and Robert Rauschenberg by Richard Avedon, 1960. © The Richard Avedon Foundation.
W. E. B. Du Bois by Carl Van Vechten, 1946. National Portrait Gallery. By permission of Art Resource and the Carl Van Vechten Trust.
Charlie Chaplin by Richard Avedon, 1953. © The Richard Avedon Foundation.
Langston Hughes and Carl Van Vechten, by Richard Avedon, 1963. © The Richard Avedon Foundation.
James Baldwin by Richard Avedon, 1945. © The Richard Avedon Foundation.
Richard Avedon, self-portrait, 1969. © The Richard Avedon Foundation.
James Baldwin and Richard Avedon by Richard Avedon, 1964. © The Richard Avedon Foundation.
Marianne Moore by Richard Avedon, 1958. © The Richard Avedon Foundation.
Marcel Duchamp by Richard Avedon, 1958. © The Richard Avedon Foundation.
TEXT
Grateful acknowledgment is made to the following for permission to reprint previously published material:
An earlier version of Chapter 7 was first published in DoubleTake Magazine, Summer 2000, Issue 21.
Farrar, Straus & Giroux, LLC: Excerpts from The Complete Poems: 1927–1979 by Elizabeth Bishop, copyright © 1979, 1983 by Alice Helen Methfessel. Reprinted by permission of Farrar, Straus & Giroux, LLC.
Farrar, Straus & Giroux, LLC and Faber and Faber Limited: Excerpts from History by Robert Lowell, copyright © 1973 by Robert Lowell; excerpts from Selected Poems by Robert Lowell, copyright © 1976 by Robert Lowell. Rights throughout the United Kingdom are controlled by Faber and Faber Limited. Reprinted by permission of Farrar, Straus & Giroux, LLC, and Faber and Faber Limited.
Four Walls Eight Windows: Excerpts from O My Land, My Friends: The Selected Letters of Hart Crane, edited by Brom Weber and Langdon Hammer, copyright © 1997. Reprinted by permission of the publisher, Four Walls Eight Windows, and the owner, Hart Crane Papers, Rare Book and Manuscript Library, Columbia University.
Houghton Library of the Harvard College Library: Excerpts from the letters of Henry James. From Henry James to Sarah Orne Jewett, shelf mark bMS Am 1743 (111), Houghton Library, Harvard University.
Alfred A. Knopf, a division of Random House, Inc., and Harold Ober Associates Incorporated: Excerpts from “Negro Speaks of Rivers,” “Scottsboro,” and “Go Slow” from The Collected Poems of Langston Hughes by Langston Hughes, copyright © 1994 by The Estate of Langston Hughes. Rights in the United Kingdom are controlled by Harold Ober Associates Incorporated. Reprinted by permission of Alfred A. Knopf, a division of Random House, Inc., and Harold Ober Associates Incorporated.
Liveright Publishing Corporation: Excerpts from “For the Marriage of Faustus and Helen, Part I,” “For the Marriage of Faustus and Helen, Part III,” “Sunday Morning Apples,” “The Bridge,” and “Chaplinesque” from Complete Poems of Hart Crane, by Hart Crane, edited by Marc Simon, copyright © 1933, 1958, 1966 by Liveright Publishing Corporation, copyright © 1986 by Marc Simon. Reprinted by permission of Liveright Publishing Corporation.
Estate of Marianne Moore: Permission to quote from Marianne Moore’s letter of April 11, 1944, to Joseph Cornell granted by the Estate of Marianne Moore. All rights reserved.
The Estate of Katherine Anne Porter and University of Maryland Libraries: Excerpts from the letters of Katherine Anne Porter. Reprinted by permission of the Trust of the Estate of Katherine Anne Porter and the Papers of Katherine Anne Porter, Special Collections and University Archives, University of Maryland Libraries.
Scribner, an imprint of Simon & Schuster Adult Publishing Group, and Faber and Faber Limited: Excerpt from “Marriage” from Poems of Marianne Moore by Marianne Moore, copyright © 1935 by Marianne Moore; copyright renewed © 1963 by Marianne Moore and T. S. Eliot; excerpts from “A Carriage from Sweden,” and “In Distrust of Merits,” from Poems of Marianne Moore by Marianne Moore, copyright © 1944 by Marianne Moore, copyright renewed © 1972 by Marianne Moore. Rights in the United Kingdom are controlled by Faber and Faber Limited. Reprinted by permission of Scribner, an imprint of Simon & Schuster Adult Publishing Group, and Faber and Faber Limited.
