" La femme moderne "

"Modern" has become a putdown among queer trendies. Many like to call themselves "post-modern," even when they can't clearly explain their cool label. Yet there was a time when "modernism" included struggles against Victorian bodyphobia, against patriarchy, for freedom of expression, for the rights of women, and for bold experimentation in the arts.
"By modernity," wrote Charles Baudelaire in 1863, "I mean the ephemeral, the fugitive, the contingent...".


Feminists and queers should take a look at
THE MODERN WOMAN REVISITED:
Paris Between the Wars,
edited by W. Chadwick and T.T. Latimer (Rutgers, 2003).
Start with the illustrations, which enliven even the most unreadable academese.
Bondage fans will enjoy Man Ray's 1930 portrait of Lee Miller (fig. 13.10, on p. 212).


World War One temporarily weakened the power of Europe's rulers, allowing brief opportunities for women, queers, artists, and others to seek liberation. In Paris, "la femme moderne" could be openly sapphist, and could look as boyish as she pleased (as "la garconne"), and explore various freedoms.


These opportunities were especially novel and precious to queer and black Americans, escaping from alcohol Prohibition, racial segregation, and general Comstockery back here.
They found the truth behind Ben Franklin's remark that
"When good Americans die, they go to Paris."


......
I recommend skimming SOME of this book,
especially chapters 1, 2, 4, 8, and 9.
You can borrow it from SF Public Library
[ http://www.sfpl.org ] --
call number
306.4708
M7208

...............
-- TBL
in SF