Kay Boyle (1902–1992)
Author of Being Geniuses Together, 1920-1930
About the Author
Image credit: Man Ray. 1934
Series
Works by Kay Boyle
Primer for combat 6 copies
His Human Majesty 5 copies
The first lover : and other stories 5 copies
The Seagull on the Step 4 copies
Black Boy [short story] 2 copies
White horses of Vienna 1 copy
Men 1 copy
Boyle, Kay Archive 1 copy
Maiden, Maiden 1 copy
Prose [number three] 1 copy
Convalescence 1 copy
Winter Night 1 copy
Associated Works
The World of the Short Story: A 20th Century Collection (1986) — Contributor — 510 copies, 4 reviews
No More Masks: An Anthology of Twentieth-Century American Women Poets (1993) — Contributor, some editions — 224 copies, 3 reviews
Rediscoveries: Informal Essays in Which Well-Known Novelists Rediscover Neglected Works of Fiction by One of Their Favorite Authors (1971) — Contributor — 27 copies
Fifty Years of the American Short Story from the O. Henry Awards 1919-1970 (1970) — Contributor — 17 copies, 1 review
Gender in Modernism: New Geographies, Complex Intersections (2007) — Contributor — 12 copies, 1 review
The Best Short Stories of 1940 and the Yearbook of the American Short Story (1940) — Contributor — 8 copies
The Best Short Stories of 1931 and the Yearbook of the American Short Story (1931) — Contributor — 7 copies, 1 review
Fifty Years of the American Short Story from the O. Henry Awards 1919-1970, Volume 1 (1970) — Contributor — 3 copies
O. Henry Memorial Award Prize Stories of 1935 — Contributor — 2 copies
Modern Short Stories — Contributor — 2 copies
RDCBLP v048 Polsinney Harbour | Christmas Day in the Morning | The Whale of the Victoria Cross | Winter Night (1985) — Author — 2 copies
The Ethnic Image in Modern American Literature, 1900-1950, Volumes 1-2 (1984) — Contributor — 1 copy
Twelve Great Modern Stories, A New Collection — Contributor — 1 copy
Direction, Volume 1, Number 2 (Jan-March 1935) — Contributor — 1 copy
Tagged
Common Knowledge
- Birthdate
- 1902-02-19
- Date of death
- 1992-12-27
- Gender
- female
- Education
- Ohio Mechanics Institute
Cincinnati Conservatory of Music - Occupations
- novelist
short story writer
teacher
political activist - Awards and honors
- National Endowment for the Arts Lifetime Achievement Award
Lannan Literary Award (1989)
Robert Kirsch Award (1986)
American Academy of Arts and Letters (Literature|1968) - Relationships
- Walsh, Ernest (partner|deceased)
McAlmon, Robert (friend)
Vail, Laurence (spouse) - Short biography
- Kay Boyle was born in St. Paul, Minnesota. She was educated at the Shipley School in Bryn Mawr, Pennsylvania, then studied architecture at the Ohio Mechanics Institute in Cincinnati. She also studied the violin at the Cincinnati Conservatory of Music before moving to New York City in 1922. During her nearly 20 years in France, she befriended many writers and artists in the Montparnasse neighborhood of Paris, including Harry and Caresse Crosby, owners of the Black Sun Press, which published her first book of short stories. Her debut novel, Plagued by the Nightingale, appeared in 1931. She produced more than 40 books, including 14 novels, 11 volumes of short stories, eight books of poetry, four translations of French works, four children’s books, and five nonfiction books. Many of her short stories of the interwar years were published in The New Yorker. Her most famous work may be her memoir Being Geniuses Together: 1920-1930 (1968) in which she interwove the story of fellow expatriate writer Robert McAlmon with that of her own. In later years, she taught creative writing courses at various universities. She was active in left-wing politics all her life, and after returning to the USA, she lost her job during the McCarthy era. She was later cleared by the State Department. In 1963, she took a creative writing position at San Francisco State College, where she remained until 1979. She participated in numerous antiwar protests, and in 1967 was arrested twice and imprisoned. She was elected to the American Academy of Arts and Letters in 1968 and won a lifetime achievement award from the National Endowment for the Arts.
- Nationality
- USA
- Birthplace
- St Paul, Minnesota, USA
- Places of residence
- St. Paul, Minnesota, USA
Cincinnati, Ohio, USA
New York, New York, USA
Mill Valley, California, USA
Rowayton, Connecticut, USA
Austria (show all 9)
Germany
Paris, France
England, UK - Place of death
- Mill Valley, California, USA
- Associated Place (for map)
- USA
Members
Reviews
Overheated prose full of adjectives. Highly mannered narratives. Foreign settings---two of the stories take place in England, one in Spain--- seem like cultural appropriation for an author who grew up in Cincinnati. But emotionally gripping even as one is objecting to all these things. Author's marital career worthy of her prose. In sum, worth a detour.
A short piece I wrote for The Scofield's second issue's "Ports of Call" section, an issue themed around Kay Boyle's work: http://bit.ly/TheScofield1-2
Written during the latter part of the Second World War and published in 1944, Boyle’s Avalanche represents a critical shift in her writing; while still demonstrating a stylistic debt to modernist figures such as Henry James, Ezra Pound, and Gertrude Stein, Avalanche sees Boyle pressing forward into more overtly political work—a thematic show more that will color her work to come, especially with the advent of the Vietnam War. In many ways, while she is one of American expatriate literature’s most unique prose stylists, one that is sadly forgotten and whose reputation is horrifically buried in literary culture today, she is also the twentieth century’s most vocal chronicler of war, covering and spanning every war’s repercussions for America, the world at large, and those individuals poised precariously between borders and nations.
In Avalanche, the American Fenton Ravel travels to war-torn France in order to find her lost lover, Bastineau, who has put his knowledge of mountaineering and the frontiers to good use in assisting French nationals to escape from Germany across the Alps. In what is perhaps Boyle’s most brilliant and cinematic opening chapter—demonstrating a debt to James as well as to Alfred Hitchcock—Fenton travels in a blacked-out train with two men whose faces she can see only by the light of a paltry match used to light proffered cigarettes. On the journey, Fenton tries to decipher their nationalities based on their accents, their opinions about world politics, their manners, and the way they interact with each other—launching one of the first extended interior monologue scenes in all of Boyle’s novels.
However, it becomes clear that in a world ruptured by war and in which no one feels wholly at home, national identity is a myth, at best.And this is the central predicament with which Fenton deals in Avalanche, on her quest to rejoin her lover Bastineau. Along the way, not only are patriotism and national allegiance called into question, but so are the ineffable yet persistent callings of the heart: as in all of Boyle’s work, Avalanche’s themes of love and espionage examine the dialectical relationship between these states, just as her characters play out a sociopolitical chamber drama in which the heart knows nothing about borders, and love knows no bounds of national or political allegiance. show less
Written during the latter part of the Second World War and published in 1944, Boyle’s Avalanche represents a critical shift in her writing; while still demonstrating a stylistic debt to modernist figures such as Henry James, Ezra Pound, and Gertrude Stein, Avalanche sees Boyle pressing forward into more overtly political work—a thematic show more that will color her work to come, especially with the advent of the Vietnam War. In many ways, while she is one of American expatriate literature’s most unique prose stylists, one that is sadly forgotten and whose reputation is horrifically buried in literary culture today, she is also the twentieth century’s most vocal chronicler of war, covering and spanning every war’s repercussions for America, the world at large, and those individuals poised precariously between borders and nations.
In Avalanche, the American Fenton Ravel travels to war-torn France in order to find her lost lover, Bastineau, who has put his knowledge of mountaineering and the frontiers to good use in assisting French nationals to escape from Germany across the Alps. In what is perhaps Boyle’s most brilliant and cinematic opening chapter—demonstrating a debt to James as well as to Alfred Hitchcock—Fenton travels in a blacked-out train with two men whose faces she can see only by the light of a paltry match used to light proffered cigarettes. On the journey, Fenton tries to decipher their nationalities based on their accents, their opinions about world politics, their manners, and the way they interact with each other—launching one of the first extended interior monologue scenes in all of Boyle’s novels.
However, it becomes clear that in a world ruptured by war and in which no one feels wholly at home, national identity is a myth, at best.And this is the central predicament with which Fenton deals in Avalanche, on her quest to rejoin her lover Bastineau. Along the way, not only are patriotism and national allegiance called into question, but so are the ineffable yet persistent callings of the heart: as in all of Boyle’s work, Avalanche’s themes of love and espionage examine the dialectical relationship between these states, just as her characters play out a sociopolitical chamber drama in which the heart knows nothing about borders, and love knows no bounds of national or political allegiance. show less
This book made me miserable. The extreme poverty, the filthy, neglected children who have been so isolated that they don’t know how to play like proper children, the greed and self-interest of the self-declared colony (cult) leader, the constant hunger of the Russian ladies who have nothing to cling to except their tattered clothes from the previous century, the bulging white eyes of the ancient landlady who is blind but sees all, the waves of sickness that wash over the young American as show more she tries desperately to induce an abortion, the child conceived on a drunken, forgotten night, the very detailed descriptions of the latrine behind the shop, the greenness, the stench, the fevers, endless glasses of cloudy Pernod …this is not the picturesque side of France. Kay Boyle’s writing is like nothing else I’ve ever read. This book is like one long, disturbing poem. show less
This is a book that I picked up on a whim in my local used book store because it is a Virago Modern Classics edition. I'd never heard of the book or the author. The story is about the love between Martin and Hannah. Both are young, in their 20s, and have left someone to be together. Hannah has left her husband behind after falling in love at first sight with Martin, and Martin has chosen Hannah over the financial support of his Aunt Eve. While Hannah's husband is all but absent from the show more book, Eve is a never-ending presence as she holds the purse strings to Martin's true love - his avant-garde literary magazine that he edits and contributes to. Hannah finds that Martin has no money of his own and they move from hotel to hotel in southern France, first running from bills and then leaving as proprietors refuse to let the deathly ill Martin stay in their hotel. His lung illness is gruesome and described in detail as Hannah nurses him through fits where he loses containers of blood.
The book ends up being a sort of love triangle between Hannah, Martin, and Eve/the magazine. I started out really liking it, was pretty put off by the tone in the middle, and then got engrossed in the end. Especially in the middle, I started to feel like even though the writing is descriptive and romantic I was being kept at a distance from everything. That's strange to feel in such a narrowly focused book. Then I read the afterword and discovered that this is a highly autobiographical work and that [Boyle] really did watch her lover die an excruciating death. Then the distance seemed to make more sense as I imagine this was pretty painful to write. show less
The book ends up being a sort of love triangle between Hannah, Martin, and Eve/the magazine. I started out really liking it, was pretty put off by the tone in the middle, and then got engrossed in the end. Especially in the middle, I started to feel like even though the writing is descriptive and romantic I was being kept at a distance from everything. That's strange to feel in such a narrowly focused book. Then I read the afterword and discovered that this is a highly autobiographical work and that [Boyle] really did watch her lover die an excruciating death. Then the distance seemed to make more sense as I imagine this was pretty painful to write. show less
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