FIVE LOVE AFFAIRS AND A FRIENDSHIP : THE PARIS LIFE OF NANCY CUNARD,
ICON OF THE JAZZ AGE
By Anne De Courcy
Weidenfeld & Nicolson. 330 pages. £22. ISBN 978-1-4746-1741-3
Reviewed by Jim Burns
Nancy Cunard was born in 1896 into a wealthy family and grew up in a
household with many servants and absentee parents. Her mother, Maud,
with whom she fought a lifelong battle while in many ways depending
on her for financial support, was well-known in upper class social
circles as a leading hostess. It’s only fair to add that Anne De
Courcy makes it clear that she was also cultured and “had a deep
love of music and literature”. Nancy’s father was a less-conspicuous
person and there is little evidence that he played a significant
part in her life. The couple separated in 1911 when her mother fell
in love with the conductor Thomas Beecham. But Maud had many male
admirers, including the Irish novelist George Moore who seems to
have acted almost like a father to Nancy. In later years he proved
to be a good friend, hence the reference to “a friendship” in the
title of this book.
Nancy stayed with her mother and seemed destined to become one of
the fashionable young women who would for a time be seen in society
and then make a suitable marriage and settle down. She went to the
usual parties and attended the usual balls. But she had always been
rebellious and when she did marry it was to Sidney Fairbairn, an
older man who had been wounded at Gallipoli. It was, for her, a
marriage of convenience in that it largely freed her from her
mother’s control. It may have set the style for many of her later
relationships in that she soon fell in love with another officer
who, when he was killed, she thought of as the one true love of her
life. There hadn’t been time for any kind of dissatisfaction to set
in.
It’s difficult to know how the facts of Nancy’s early life had a
bearing on her later activities. She appears to have been always
wilful in the sense of following her own inclinations irrespective
of how they affected other people. She certainly drank heavily from
the moment she began to circulate among her contemporaries. Was this
a cover for some sort of personal shortcomings, or simply a desire
to keep up with the crowd? Many of the people she knew liked their
liquor. This was especially true when she began to mix with a
more-bohemian set, finding the company of writers, artists, and
other creative people more stimulating than that of debutantes,
bankers, businessmen, and politicians. Nancy was writing poetry,
some of which was published in
Wheels, a magazine edited
by Edith Sitwell. Her first collection, perhaps significantly
entitled Outlaws,
appeared in 1921. It’s of relevance to note, also, that Nancy’s open
attitude towards sex, which sometimes led to assertions of
nymphomania, probably had its origins in those early years. A
hysterectomy when she was twenty-four meant that she didn’t have to
worry about unwanted pregnancies.
In London Nancy frequented the Eiffel Tower Restaurant where Wyndham
Lewis and the Vorticists gathered and launched their magazine,
Blast. And there were
affairs with the poet Robert Nichols
and the artist Alvaro Guevara, who painted a particularly
fine portrait of Nancy. By 1920, however, she was sure that the
place to be was Paris. The city was still “acting as a magnet to
artists and intellectuals” despite the lingering effects of the war.
The favourable exchange rate, especially for the dollar, meant that
many American writers and painters, not to mention tourists, would
soon be in evidence. Paris hadn’t yet lost its title as the major
centre for artistic developments. It also offered the opportunity of
a freer life-style than could be found in either London or New York.
There was a more-tolerant attitude towards sex, and the licensing
laws weren’t as restrictive.
It was in Paris that the first of the five lovers that de Courcy
focuses on came along. He was the novelist Michael Arlen and it was
his portrayal of Nancy as Iris Storm in his book
The Green Hat that
brought him success. There was little doubt that Iris was closely
based on Nancy. And Arlen had also based a character called
Priscilla on Nancy in his earlier novel,
The London Venture, where
he described her as neglected by her mother and marrying when young.
It was The Green Hat,
however, that really drew attention to Nancy, something she didn’t
care for. Iris is shown as “a beautiful, doomed heroine”, and the
subject-matter included “extra-marital affairs and syphilis”.
The Green Hat
was published in 1924, by which time Nancy had tired of Arlen and
moved on to Ezra Pound, though there were probably others in
between, sometimes as a one-night stand . Nancy had met Pound before
in London, where he was a friend of her mother, and thought him
interesting because of the “theatricality, not to say flamboyance,
of his dressing”. Coming across him again in Paris gave her the
opportunity to bed him. The fact that he was married and involved in
an affair with another married woman didn’t bother Nancy who, around
the same time, also had brief liaisons with Wyndham Lewis and T.S.
Eliot. I have to admit that there were occasions when I began to
lose track of who she had been with. I’m not making a moral
judgement. She was free to do what she wanted, and it was a
challenge to the existing convention that it was acceptable for a
man to play the field but a woman doing the same thing was to be
condemned.
Next on the list was Aldous Huxley who didn’t seem to last very
long. Nancy was never in love with Huxley but de Courcy says that
she “enjoyed his company, so kept him dangling”. She could sometimes
be cruel in her comments on friends and lovers and once said that
being made love to by Huxley was “like having slugs crawl all over
you”. Mixing with writers, of course, can lead to them using you, or
some of your characteristics, in their work. De Courcy points to
Huxley’s novels, Antic Hay
and Point Counter Point,
as having characters based on Nancy. And she adds that in the person
of Lucy Tantamount in Point
Counter Point he captured completely “Nancy’s terror of being
alone, her constant hope that something better would turn up, and
her restlessness”.
It needs to be noted that de Courcy hasn’t just written an account
of Nancy’s encounters with various men. She puts her activities in
context by outlining the Paris of the time, and providing
information about many of the people she met. She was guided around
the Left Bank by the American writer Robert McAlmon, like her a
serious drinker and a lover of night life. She visited Gertrude
Stein, and I must admit that I liked de Courcy’s comment on her:
“Gertrude Stein was someone who was both revered and ridiculed but
always taken seriously – most of all by herself”.
Nancy wasn’t really welcome at the Stein household, but found
the company at Natalie Barney’s salon more to her liking. Djuna
Barnes, author of the brilliant
Nightwood, could be found
there, and so could Sylvia Beach, who ran the bookshop Shakespeare
and Company and would soon be responsible for getting James Joyce’s
Ulysses into print. There
were also the wealthy poet Harry Crosby and his wife Caresse. He had
what might be seen as a death wish and would eventually put it into
practice in what appears to have been a bizarre suicide pact with a
young, married woman.
It wasn’t just the Americans and the British that Nancy knew in
Paris. She came across the Dadaists and was soon embroiled in an
affair with their leading spokesman, Tristan Tzara. It would seem
that she appeared in one or two of Tzara’s provocative Dadaist
plays. Their brief encounter doesn’t rate as one of de Courcy’s five
key entanglements, nor does a “sporadic” liaison with the British
poet John Rodker. Does anyone remember or read Rodker these days? He
wrote interesting poems in the modernist style, and a short novel,
Adolphe 1920, described
by one commentator as “an analytical tour-de-force of obsession and
disgust in which the psychological envelope of the lived world turns
romantic subjectivity inside out in a prose of vivid mental
sensations”.
Dada was soon eclipsed by Surrealism, with André Breton at its head
and Louis Aragon a key participant in its activities. Did Nancy have
a fling with Breton? De Courcy suggests it could have happened. What
is certain is that she ensnared Aragon and led him a merry dance
around Paris, in Italy, and elsewhere. He was dismayed by her
promiscuity and her problems with alcohol. And the surrealists
generally tended to disapprove of Nancy, finding her insistence on
being treated as an equal not to their taste. As de Courcy explains,
the surrealists, despite “their desire to shock and break down
barriers – were curiously traditional in their idea of female
behaviour”, and she quotes André Thirion who said, “Sleeping around
was just not on”. It was Thirion who also reminisced that, when
drunk, Nancy could become “nasty, aggressive, and brutal”. When she
started an affair with
the black pianist Henry Crowder it drove Aragon into attempting to
commit suicide.
Nancy’s relationship with Crowder lasted on and off for several
years, though it was inevitably affected by her excessive drinking
and sexual behaviour. And
the fact that Crowder was black created problems, especially when
the couple visited England where racial prejudice was rife. But in
1928 she fulfilled her ambition to run a small press, and so take a
place alongside Robert McAlmon’s Contact Press, the Crosby’s Black
Sun Press, and others dedicated to printing work by some of the new
writers around at the time. Nancy’s The Hours Press published Samuel
Beckett, Bob Brown, John Rodker, and Walter Lowenfels, among others,
though it additionally provided a continuity with the past by
featuring material from George Moore and Arthur Symons. It managed
to survive until 1931 when Nancy’s energies were increasingly
diverted into editing the large anthology,
Negro, which was
eventually published in 1934 by Wishart, London. Her
These Were the Hours:
Memories of My Hours Press Reanville and Paris 1928-1931
(Southern Illinois University Press, 1969)
is a valuable account of the pleasures and problems of operating
a small press.
It could be argued that, in some ways, the 1930s were her finest
hours. She edited the Negro
anthology, supported the Republican side in the Spanish Civil War,
opposed the Italian invasion of Abyssinia, identified with the
Hunger Marchers when they demonstrated in London, and raised money
for the defence of the Scottsboro Boys, a group of young blacks
falsely accused of the rape of two white women. In all these
activities she was looking beyond her own concerns. It needs to be
said, however, that she did continue to behave true to form in other
ways. She formed a relationship with Raymond Michelet, who at
seventeen was half her age, and she wrote a pamphlet,
Black Man and White Ladyship,
which bitterly continued the feud with her mother.
Going beyond the 1930s isn’t the purpose of de Courcy’s book.
Nancy’s life went into something of a downwards spiral as her mental
state declined after the Second World War. She travelled to France
and Spain, but got into trouble with the police in the latter
country. She was arrested in London for soliciting and assaulting a
policeman, and in court threw her shoes at the magistrate. Raymond
Mortimer described her as “a heroic figure in dilapidation”. In 1965
she somehow found her way to Paris and turned up on Raymond
Michelet’s doorstep “delirious, frail, penniless”. He found a hotel
room for her, and went to see Louis Aragon to ask if he could help,
but Aragon’s wife, Elsa Triolet, argued against the idea. In the
meantime Nancy had left the hotel and, incoherent, had been taken by
the police to a nearby hospital. She died there on the 17th
March 1965.
Anne de Courcy’s book is not a full biography but it does give a
good outline of Nancy Cunard’s life and does not attempt to hide or
disguise her shortcomings as a person. She offended and hurt any
number of people. On the other hand she could be generous and
helpful. It’s worth looking at
Nancy Cunard: Brave Poet,
Indomitable Rebel, a large Festschrift for her edited by Hugh
Ford and published by Chilton Book Company in 1968, for a broad idea
of her enigmatic personality. Whatever she did she clearly made an
impression on everyone who met her.
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