#Inez milholland boissevain

[fabiansteinhauer]

(Ver-)Tragen

1.

'Warburgs Staatstafeln' ist ein Projekt zur Bild- und Rechtswissenschaft. Wie in älteren Arbeiten widerspreche ich dabei einer in Deutschland teils verbreiteten und zuletzt durch staatsrechtliche Beiträge noch einmal popularisierten Vorstellung, die mit dem Begriff des iconic turn oder der visuellen Zeitenwende assoziiert ist. Danach soll Rechtswissenschaft angeblich einem klassischen Verständnis nach eine Textwissenschaft sein, das moderne Recht sollen sich von Rhetorik, Zeremonial, Bild und Körper/ Fleisch gelöst haben - und angeblich sollen Juristen, Rechtsubjekte und Rechtswissenschaftler bisher über minore Epistemologien, minore Medien und minore Techniken nichts gewusst haben oder nicht davon bedacht haben. Angeblich, man liesst das heute noch im Staat, hätten Wissenschaften bisher nicht über Emotionen, Bilder, Affekte, nicht über die Teilung der Sinne nachgedacht. Angeblich gäbe es nun eine Reihe von Wendungen, mit denen Bilder oder ein Bildwissen ins Recht eindringen würden, angeblich gäbe es eine Bilderflut und angeblich würden sich bestimmte Grenzen auflösen. Diesen Thesen widerspreche ich. Ich halte sie nicht für plausibel. Eine Masse an historischem Material spricht dagegen. Also anders: Rechtswissenschaft war immer auch Bildwissenschaft; und alles Beteiligten wissen immer alles notwendige. Ein Mangel an Wissen ist ein Ausweis von Melancholie. Schließlich: Traue keinem Autor, der sich für Kolumbus hält.

2.

Darum geht es aber in dem Buch nicht, das Dogma der großen Trennung ist ohnehin unwiderlegbar. Unter anderem geht es, das ist wichtiger, darum, Warburgs Begriff des Distanzschaffens und seine Praxis des Distanzschaffens als juridische Kulturtechnik zu rekonstruieren, also zum Beispiel in juridische Techniken der Verkörperung, des Tragens und Trachtens zu übersetzen.

Warburg macht das auf den Staatstafeln exemplarisch, vorbildlich: Er übersetzt das Distanzschaffen (das man analytisch wiederum in Operationen der Trennung/ Unterscheidung, der Assoziation/ Koppelung sowie eines limitierten Wechselbar-Haltens zerlegen kann) in Techniken der Verkörperung, also auch der Stellvertretung und Repräsentation - sowie eines Tragens und Trachtens, das normative Elemente wie den Raum und die Zeit (und damit zum Beispiel ein neues Rom) durch zügige Formen erscheinen lässt.

Warburg übersetzt Distanzschaffen in ein Tragen und Trachten, das zügige Formen, sogar Subjekte, Personen, Objekte, Aktionen und Passionen erscheinen lässt. Warburg wählt das Beispiel Rom, also zeigt er juridische Kulturtechniken, die Rom erscheinen lassen.

Warburgs Arbeiten zu den Lateranverträgen mögen idiosynkratisch wirken, sind aber Teil von Kulturtechniken, die eine Reihe von Trennungen und Assoziationen, mit denen Moderne konstituiert werden soll, unterlaufen. Aber so alleine und so isoliert ist er nicht. Das Foto oben stammt nicht von Warburgs Staatstafeln, das ist das Foto von Inez Milhollend Boissevain von der Woman Suffrage Procession vom 3. März 1913. Warburgs diplomatisches Protokoll eines diplomatischen Protokolls, die römischen Züge im Februar 1929 sind Teil einer Praxis, die auch auch in der Moderne, auch in Washington geübt wird, die überall dort geübt wird, wo Gesellschaft, wo Recht erscheinen soll. Kalr Heinz Göttert hat jüngst noch einmal ein Buch zur Kulturtechnik der Züge geschrieben: Massen in Bewegung. Das sind Kulturtechniken, die aus Massen etwas machen, zum Beispiel Subjekte. Sie machen aus den Elementen der Masse zum Beispiel Personen. Sie lassen Objekte erscheinen und einen Händel/ Handel, in dem man Aktionen und Passionen ausmachen kann. Diese Techniken sind allesamt rekursiv, sie machen etwas aus dem, was sie haben, machen aus Formen Formen, so das noch Subjekte aus Subjekten gemacht erscheinen, dass Objekte aus Objekten gemacht erscheinen, dass der Händel und Handel aus Händel und Handel gemacht erscheint. Manchmal kommt es vor, dass Subjekte aus Objekten oder Handel/Händel aus Subjekten gemacht erscheint. Rekursion schließt Kreuzungen, Übersetzungen oder 'Versäumung' nicht aus, sie schließt nicht aus, dass etwas aus etwas anderem entsteht.

Bei meinen kurzen Vortrag zum Lancieren/ Launchen als juridischer Kulturtechnik fragte jemand, ob die Operationen symbolisch oder performativ seien und erläuterte die Frage als Frage danach, ob die Operationen auf etwas verweisen würde oder ob sie das, was die erscheinen liessen, erst produzieren würden. Sie machen beides: produzieren ihre Referenz, reproduzieren Referenz - durch Rekursion, also nur durch die Operationen der Trennung/ Unterscheidung, der Assoziation/Kopplung und des Wechsels, sie sind in dem Sinne sowohl symbolisch als auch performativ. In ihrer Gegenwart gehen sie nicht auf, nicht in der Behauptung einer Referenz.

[thesociologicalcinema]

Lawyer Inez Milholland Boissevain prepares to lead the Suffrage Parade, on March 3, 1913. Source: Library of Congress— in Washington D.C.

[theamericanparlor]

Inez Milholland Boissevain, wearing white cape, seated on white horse at the National American Woman Suffrage Association parade, March 3, 1913, Washington, D.C.

Digital ID: (digital file from original photograph) ppmsc 00031 http://hdl.loc.gov/loc.pnp/ppmsc.00031

Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA

[thisobscuredesireforbeauty]

Inez Milholland Boissevain preparing to lead the March 3, 1913, suffrage parade in Washington, D.C., 1913. Source

[justineportraits]

Suffrage poster depicting Inez Milholland Boissevain dressed in white, riding a white horse, as she did for the March 3, 1913 suffrage parade in Washington, D.C

[victorianchap]

🔸 Lawyer Inez Milholland Boissevain prepares to lead the Suffrage Parade, on March 3, 1913.  In Washington DC. from Library of Congress via The Atlantic #victorianchaps #suffragette #oldphoto #washingtondc #goodolddays #nostalgia #parade #march #pastlives #history #Edwardian #retro #vintage #1910s (at Washington D.C.) https://www.instagram.com/p/Cj2IialAh3a/?igshid=NGJjMDIxMWI=

[scatteredprayerbeads]

From Maria Popova’s article “Edna St. Vincent Millay’s Exquisite Polyamorous Love Letters from the 1920s”

Edna St. Vincent Millay (February 22, 1892–October 19, 1950) was only thirty-one when she became the third woman to receive the Pulitzer Prize in Poetry. ...[H]er extraordinary poetic potency sprang from her boundless capacity for love and beauty — a capacity so boundless that she fell in love frequently and intensely, with both men and women, often with multiple people at the same time. 

[ID: sepia colored photograph of Edna St. Vincent Millay embraced on either side by her lover Arthur Ficke and her husband Eugen Jan Boissevain. Ficke and Boissevain both have suit jackets on and serious faces, while Millay wears a dress and cloak and smiles at the viewer. / end ID]

In her early twenties, shortly after she wrote those beautiful love letters to the British silent film actress Edith Wynne Matthison, Millay became besotted with the poet, playwright, and Japanese art scholar Arthur Davidson Ficke and they embarked on a decade-long epistolary romance of exhilarating intensity. ...

[B]y the beginning of winter [1921], Millay had started falling in love with the writer Witter Bynner, nicknamed Hal — a friend of Ficke’s since their college days at Harvard. Here was a love that didn’t, as she insisted over and over again to both men, detract from her feelings for Arthur. ...[F]or her, as she so movingly articulates in a letter to Hal from 1922, love was never a zero-sum game:

It is true that I love Arthur. But we have all known that for some time — haven’t we? — I shall love him always. He is something to me that nobody else is. But why should that trouble you, Hal? Don’t you love him, too? Don’t you love several people? — If you loved me, I should not want you to love only me. I should think less highly of you if you did. For surely, one must be either undiscerning, or frightened, to love only one person, when the world is so full of gracious and noble spirits.

The very next day, 30-year-old Millay writes to Arthur:

It doesn’t matter with whom you fall in love, nor how often, nor how sweetly. All that has nothing to do with what we are to each other, nothing at all to do with You and Me.

With this, she informs him diagrammatically that she is considering marrying Hal:

Would you be sorry or glad if I did? … Of course, there is a very geometrical reason why I should. We should make such a beautiful design, don’t you see, — Hal and you and I. Three variable and incommensurate souls automatically resolved into two right angles, and no nonsense about it.

...Millay married neither Arthur nor Hal. The following year, she married another man altogether — Eugen Jan Boissevain, the widower of the trailblazing lawyer and war correspondent Inez Milholland. Over the course of their 26-year open marriage, both Millay and Boissevain had frequent relationships with other people but maintained a deep love for one another until death did them part. They died within a year of each other.

[ID: black and white photo of Millay from the shoulders up: she wears a jacket with a shirt with a large white collar; her hair is short and she gazes downward towards the righthand corner of the photo with only the slightest smile on her serious face. / end ID]

[usnatarchives]

19th Amendment at 100: Woman Suffrage Comes to Washington

Cover of the official 1913 Woman Suffrage Procession, from the holdings of the Herbert Hoover Presidential Library.

Exhibit No. 36, View of the Woman Suffrage Parade from the Willard Hotel, Washington DC, March 4, 1913, 63rd Congress; RG 287, National Archives 

View of the Woman Suffrage Parade between Ninth and Tenth Street, NW, 1913. (Publications of the U.S. Government, National Archives)

On March 3, 1913, over 5,000 suffragists marched down Pennsylvania Avenue through Washington, DC, on the eve of Woodrow Wilson’s inauguration. The cover to the official program of the Woman Suffrage Procession shows a woman on horseback, confidently riding towards the Capitol as a herald of a new era.

In reality, the march was a very different experience. The suffragists were met by aggressive crowds who hassled the marchers and obstructed the parade route. 

The famous suffragist and speaker Inez Milholland Boissevain did ride on horseback down Pennsylvania Avenue, followed by thousands of women, 9 bands, and twenty-four floats, but as the suffragists marched along Pennsylvania Avenue on March 3, 1913, they were met with crowds of unruly men blocking their paths and shouting derogatory remarks.

Marie Louise Bottineau Baldwin, member of the Turtle Mountain Band of Chippewa Indians, marched with other female lawyers in the parade and recalled struggling to “walk four abreast . . . [in a space] no wider than a single car track.”  

Women testified about their experiences—some noted the lack of police or their indifference and applauded the Boy Scouts for being more effective than the police. Others described drunken men along the parade route hooting and jeering at them, blocking their path, and making insulting remarks.  

Ambulances even struggled to reach those in need as the crowds sometimes deliberately blocked them, and over 100 women were taken to the hospital. By the end of the day, the cavalry had to be called in from Fort Myer to bring the crowd of spectators under control. 

In the end, outrage over the violence resulted in increased sympathy for woman suffrage.

This blog post was adapted from exhibit text written by Corinne Porter, curator for Rightfully Hers: American Women and the Vote exhibit, and from an earlier blog post about the 1913 march by Jessie Kratz, National Archives historian. Full blog post here. 

View the Commemorative Calendar for the 19th Amendment. 

[somebucky]

WE ALL HAVE THINGS TO LEARN FROM HISTORY. BUT THATS WHY WE NEED TO REMEMBER IT AND NOT ERASE IT.

No person is entitled to own someone because of the color of their skin/race.

No person is allowed to harm another person because of their skin/race.

No person is an object based on the color of their skin/race.

No one should die based on their skin/race.

Now let me list some examples of historic events that target poc:

Holocaust

slavery (not just american slavery)

American civil movement

Japenese internment camps

9/11

genocide (in certain countries like Romania against Romani)

Ukranian War

Now allow me to list some examples of peaceful protests that influenced history:

Mahatma Gandhi - Salt March

Martin Luther King Jr. - March on Washington

Cesar Chavez - Delano Grape Boycott

Rosa Parks - Montgomery Bus Boycott

Inez Milholland Boissevain - Suffrage Party

Baltic nations - Singing Revolution

Cherokee Indian Resistance to Forced Relocation (1838) - Trail of Tears

The white rose resistance (1942-1943)

The Tree Sitters of Pureora (1978)

Tiananmen Square Protests (1989)

Not all of these peaceful protests are successful. Not all protestors survived. But that is why we need to remember so that we can carry on their objective so that we can be that change.

[marziesreads]

This Independence Day I’m posting about the women who advocated for independence and freedoms for women. From suffrage to contraception access (by the extremely flawed Margaret Sanger) to trying to get an Equal Rights Amendment passed. In order we have Sojourner Truth, Frances Ellen Watkins Harper, Lucy Stone, Elizabeth Cady Stanton, Susan B. Anthony, Ida B. Wells, Alice Paul, Inez Milholland Boissevain, the aforementioned Margaret Sanger (who also believed in eugenics, unfortunately), and Gloria Steinem. These women and so many others were beaten, starved, force fed, jailed, and otherwise abused for advocating for the rights that so many of us enjoyed in the US over the past century. We have already started losing the right of bodily autonomy, privacy, and self-determination. Further backsliding dishonors their efforts and memories. Our independence and self-determination requires our vigilance and that of good men allied with us. #independence #selfdetermination #autonomy #freedom #trueequality https://www.instagram.com/p/Cfl5VcrLZdv/?igshid=NGJjMDIxMWI=

[hell-yeahfilm]

RAPTURE AND MELANCHOLY

Biographer Epstein offers a judicious edition of the diaries of Edna St. Vincent Millay (1892-1950), beginning in 1907, when the ebullient teenager felt sometimes overwhelmed with caring for her two younger sisters whenever her mother, a nurse, was called away. “It is very hard to be sixteen,” she confides to her diary, glad to have an outlet for what she calls her “spite.” At 19, fantasizing about a “beloved,” she pours her passion into “Renascence,” which she entered into a poetry contest in May 1912. Accepted for a volume of the winners, “Renascence” was singled out for praise by several reviewers and served to launch Millay’s career. The Poetry Society of America hosted a literary evening in her honor in 1913, when she was a student at Barnard, preparing to enter college. For the 20-year-old poet, New York City was a heady experience, and her diary reflects the excitement of meeting other poets (Sara Teasdale, for one), shopping, walking through Manhattan, and seeing her first opera, Madame Butterfly, at the Metropolitan Opera House. After graduating from Vassar, she traveled to Europe, including Albania, which had just opened to Western tourism. Her vivid entries from that trip, Epstein notes, appear here for the first time. In 1923, Millay married the wealthy Dutch businessman Eugen Boissevain, widower of suffragist Inez Milholland, and soon the couple bought Steepletop, a house in Austerlitz, New York, where Millay lived for the rest of her life. Entries reveal her as impetuous, hardworking, and passionate; friends could irritate as much as please. A lover’s rejection sent her into a depression from which she never recovered. By 1949, when she made her last entry, she had become “a solitary, tragic figure,” suffering from ill health, addiction to alcohol and opiates, and loneliness.

from Kirkus Reviews https://ift.tt/5SGDefl

[artbookdap]

Still time to exercise your right to VOTE today!⁠ ⁠ Featured images are reproduced from 'Standing Together: Inez Milholland's Final Campaign for Women's Suffrage,' @mweditions new collection of recent and historic photographs, quotations and painstakingly researched archival materials by Jeanine Michna-Bales. At a time when voting rights are at the absolute forefront of national debate, this book—which retraces the pioneering women’s suffrage advocate Inez Milholland Boissevain’s grueling 1916 campaign across the Western US—conveys both immediately and poetically the heroic effort required to pass the 19th Amendment. In fact, Inez Milholland Boissevain gave her life for the cause. “Although the principle of equal rights is enshrined in America’s founding documents,” Michna-Bales writes, “those rights have historically been reserved for certain groups—mainly white men—and have been violently withheld from many people, most grievously from immigrants and Black and indigenous Americans.… It is clear that we still have work to do. And as Inez would have wished, I truly hope that we all continue to stand together, shoulder to shoulder, using our voices with courage and devotion as we move ‘forward out of error’ and ‘forward into light.’”⁠ ⁠ Read more via linkinbio.⁠ ⁠ @jmbalesphotography @pdnbgallery @arnikadawkinsgallery @missamyswilkins #womenssuffrage #universalsuffrage #votingrights #humanrights #electionday #photobook #womenartists #womensrights https://www.instagram.com/p/CVyXWSaJxS3/?utm_medium=tumblr

[plusorminuscongress]

Picture This: No Need to Hold these Horses: Announcing New Free to Use and Reuse Set https://ift.tt/2TaBmPD by Kristi Finefield

In the Library’s latest Free to Use and Reuse set of images drawn from the collections, the focus is on the horse, and all the myriad ways these noble animals have been part of our lives, including sports, recreation, agriculture, transportation, and so on.

I spotted one image that for me, and maybe for many people, reflects my first experience “riding a horse” – a spin on the back of a colorful carousel horse:

A carousel ride, often fondly called a “merry-go-round,” at the annual Iowa State Fair in the capital city of Des Moines. Photo by Carol M. Highsmith, 2016 Aug 11. https://ift.tt/2Z8zpae

Another photo reminded me of the first time I ever sat atop a real horse as a young girl, and couldn’t get over how high up I was, and how I enjoyed the chance to view the world from a totally new perspective:

Thomas W. Beede, resettlement client, Western Slope Farms, Colorado gives his youngest daughter a ride. Photo by Arthur Rothstein, 1939 Oct. https://ift.tt/2TaBr5T

You can almost see the youngest daughter of Thomas Beede imagining what it would be like to take this horse for a ride across the farm, but my guess is this working horse has no interest in a leisure stroll.

Do these photos or others in the set trigger a memory for you? Browse a selection below and check out the entire set for an equine adventure.

Horses. Leaping a 3 ft. 6 hurdle. Photo by Eadweard Muybridge, 1881. https://ift.tt/3cClahF

Ringling Bros. Galaxy of Champion Riders. Poster (lithograph) copyrighted by Courier Litho. Co., 1899. https://ift.tt/2T89yv7

Montauk Point, Rough Riders, Col. Roosevelt. Photo (cyanotype) by Frances Benjamin Johnston, 1898. https://ift.tt/3cBiReP

Shepherd with his horse and dog on Gravelly Range, Madison County, Montana. Photo by Russell Lee, 1942 Aug. https://ift.tt/3fRytgn

[Inez Milholland Boissevain, wearing white cape, seated on white horse at the National American Woman Suffrage Association parade, March 3, 1913, Washington, D.C.] Photo from George Grantham Bain Collection, 1913 March 3. https://ift.tt/3byP3OH

The horse wrangler / Erwin E. Smith, Bonham, Texas. Photo by Erwin E. Smith, copyrighted 1910 June 24. https://ift.tt/3dSAOpl

Union engine no. 3 – York, Pa., fire department. Photo copyrighted 1911. https://ift.tt/3czROkh

Learn More:

Explore the entire set of Free to Use and Reuse: Horses, as well as additional sets of images from the Library of Congress.

Revisit Picture This entries including compelling images of horses from the Prints and Photographs Division’s collections:

Eadweard Muybridge: Birth of a Photographic Pioneer

Step Right Up! Circus Posters for your Viewing Pleasure

Caught Our Eyes: Jumping to Connections, not to Conclusions

Work Horses: Pulling their Weight

[beckylower]

My interest in the footnotes of history and lesser-known heroes have led me to a woman of whom I had not heard until I stumbled upon her in my research. American women owe Inez Milholland Boissevain a debt for the part she played in advancing the cause of women’s rights. Errant Vassar student, suffragette, labor lawyer, World War I correspondent, and public speaker, Inez packed more into her short life than most of us achieve in a lifetime.

Entrance to Vassar

Born in New York in 1886 to John and Jean Milholland, Inez’s parents were able to provide an intellectually and culturally stimulating environment for their three children. Her father started his working life as a reporter and editorial writer for the New York Tribune, but moved on to business ultimately heading a pneumatic mail tube company. Their financial situation was such that the family maintained homes in both New York and England. Inez spent much of her adolescence in London where she attended the Kensington High School for Girls. In the school’s progressive environment, the daughters of earls studied alongside shopkeepers’ children because class distinctions did not exist within its walls. Her application to Vassar was initially rejected, but after additional study at the Willard School for Girls in Berlin where she received an acceptable diploma, she returned home to the US for college.

At Vassar, Inez was involved in the college experience in every conceivable way. She was an outstanding athlete, playing basketball, tennis, golf, field hockey, and breaking a campus shot put record. In addition to sports, she was a member of several clubs, on the debate team, acted in college dramas, became involved in a children’s cause in the community, and was president of her junior class. This would have been more than enough for most young ladies, but an encounter during the summer between her sophomore and junior years changed her life.

Back in London, she met the notorious Emmeline Pankhurst and joined her Women’s Social and Political Union. Pankhurst and her suffragettes chained themselves to fences and refused to stand down in their demonstrations calling for women’s rights, especially the vote. When arrested and imprisoned, they went on hunger strikes and were force-fed by tubes rammed down their throats. When these tactics failed, they moved on to more violent means.

Inez brought this fervor back to the Vassar campus where her ideas and attendant activities were not well received by the administration. Her first volley over the bow of entrenched patriarchy was an article for the Vassar campus magazine describing her adventures with Mrs. Pankhurst and decrying the lackluster state of the American suffrage movement by comparison. Since suffrage was a taboo subject on the Vassar campus, Inez and those she attracted to the cause held an organizational meeting in a nearby cemetery. Attending were 40 students, 10 alumna, and suffrage proponents from the community and New York City. This was the beginning of the Vassar Votes for Women Club, which continued to meet off-campus under Inez’s leadership. While the Vassar website makes no mention of it, some sources say Inez was suspended from college at one point in her battle of wills with the college president, James Monroe Taylor who strictly forbade any discussion of suffrage on campus. One might conclude he was delighted to see the last of Miss Milholland when she graduated in 1909.

After graduation, Inez’s interests broadened to include the law and writing for the socialist journal, The Masses. Rejected by several Ivy League law schools, she was admitted by NYU where she graduated in 1912 and became a clerk in a NYC firm. In 1913, she defended labor leader Elizabeth Gurley Flynn who had been arrested during a textile strike. That same year, she made her most celebrated appearance in support of women’s suffrage by leading a massive Washington D.C. parade the day prior to Woodrow Wilson’s inauguration. Sitting astride a white horse, a crown upon her head,  and dressed in a flowing white cape, the beautiful young socialite turned activist must have been an awe inspiring sight. When a crowd drunken men attempted to impede the marchers’ progress, it is said she turned her horse on them and they scattered. That same year, she proposed to her future husband, Eugen Boissevain, whom she married later that year and with whom she maintained an open marriage as a believer in free love.

When war broke out in 1914 Inez, like so many of her colleagues, believed the US should stay out of the European conflict. To get a first hand look, she went to Europe on Henry Ford’s Peace Ship in 1915. She stayed on as a war correspondent until Italy kicked her out of the country due to her pacifist views. She returned to the US and took up the cause of women’s suffrage once more joining a national tour of the National Women’s Party. She drew large crowds wherever the tour stopped.

It was while on tour that Inez developed an infection from which she would not recover. As a suffer of pernicious anemia, her immune system must have been particularly weakened. She collapsed in Los Angeles on November 25, 1916 and was taken to a nearby hospital where she died. She was only 30 years old.

From an obituary:

“Beautiful and courageous, she embodied more than any other American woman the ideals of that part of womenkind whose eyes are on the future. She embodied all the things which make the Suffrage Movement something more than a fight to vote. She meant the determination of modern women to live a full free life, unhampered by tradition.” The Philadelphia Public Lodger at the time of her death

      The National Women’s Party proclaimed her a martyr to women’s rights, but her fame faded until today she is a rather obscure figure from a long ago movement. I suppose there is some cause for celebration in the fact that women now take the vote for granted. We tend to forget we once were second class citizens without personal or property rights, which is an indication of just how far we have come.

  Historical Fiction Featuring Suffragettes

          Resources

http://vcencyclopedia.vassar.edu/alumni/inez-milholland.html

https://www.loc.gov/collections/women-of-protest/articles-and-essays/selected-leaders-of-the-national-womans-party/icon/

https://www.thoughtco.com/inez-milholland-boissevain-biography-3530528

https://time.com/4391874/the-society-girl-who-became-a-martyr-for-womens-suffrage/

https://spartacus-educational.com/Jmilholland.htm

http://inezmilholland.org/

https://americancivilwar.com/women/Womens_Suffrage/Inez_Milholland.html

  A Brief but Spectacular Life My interest in the footnotes of history and lesser-known heroes have led me to a woman of whom I had not heard until I stumbled upon her in my research.

[lgbt-history-archive]

“My candle burns at both ends; it will not last the night; but ah, my foes, and oh, my friends—it gives a lovely light!” – “First Fig,” Edna St. Vincent Millay, 1918. . Picture: Edna St. Vincent Millay (February 22, 1892 – October 19, 1950), New York City, c. 1935. c/o The Millay Society. . Edna St. Vincent Millay, who was born one hundred and twenty-five years ago today, was a bisexual American poet and playwright; in addition to receiving the Pulitzer Prize for Poetry in 1923 (the third woman to win the poetry award), she also was known for her pioneering proto-feminist voice. . After graduating from Vassar College in 1917, Millay moved to Greenwich Village, where she earned a name for herself as a poet and as a co-founder of the Cherry Lane Theater (established “to continue the staging of experimental drama”). . In 1920, a collection of Millay’s poetry, “A Few Figs From Thistles,” caused controversy for, as Sarah Parker explained, the “frank expression of subjects previously thought unsuitable for women writers, such as free love, promiscuity, active female sexual desire, and the pleasures of roaming the city.” In 1923, Millay continued to break ground with “The Ballad of the Harp-Weaver,” for which she won the Pulitzer Prize. . Millay married activist icon Eugen Jan Boissevain (widower of suffrage pioneer Inez Milholland) in 1923 and, although (or perhaps because) both had other lovers throughout the marriage, they shared a happy partnership until Boissevain’s death in 1949. . During the first World War, Millay was an outspoken pacifist, though she was a vocal supporter of the Allied Forces in World War II; her apparent enthusiasm for the latter war effort earned her considerable criticism within poetry circles. . Edna St. Vincent Millay died from a heart attack after falling down a flight of stairs at her home on October 19, 1950; she was fifty-eight. #lgbthistory #HavePrideInHistory #EdnaStVincentMillay (at Washington Square Park)