Janet Flanner (1892–1978)
Author of Paris Was Yesterday: 1925-1939
About the Author
Image credit: Hoyningen-Huehne
Series
Works by Janet Flanner
Paris Journal, 1944-1971 10 copies
Letter from Paris 1 copy
Associated Works
Reporting World War II Part Two : American Journalism 1944-1946 (1995) — Contributor — 429 copies, 3 reviews
The New Yorker Book of War Pieces: London, 1939 to Hiroshima, 1945 (1947) — Contributor — 114 copies, 2 reviews
The Edge of the Chair: A Superlative Collection, Some Fact, Some Fiction, All Suspense (1967) — Contributor — 50 copies, 1 review
The Red Velvet Seat: Women's Writings on the Cinema: The First Fifty Years (2006) — Contributor — 20 copies
Tagged
Common Knowledge
- Legal name
- Flanner, Janet
- Other names
- Genet (pseudonym)
- Birthdate
- 1892-03-13
- Date of death
- 1978-11-07
- Gender
- female
- Education
- University of Chicago
Tudor Hall School for Girls - Occupations
- journalist
writer - Organizations
- American Academy of Arts and Letters (Literature, 1959)
The New Yorker - Relationships
- Solano, Solita (partner)
- Short biography
- Janet Flanner was born in Indianapolis, Indiana. After a period spent traveling abroad with her family and studies at Tudor Hall School for Girls (now Park Tudor School), she enrolled in the University of Chicago in 1912, leaving the university in 1914. In 1916, she returned to her native city to become the first drama and art critic for the Indianapolis Star. In 1922, she settled in Paris with her companion Solita Solano, and lived there, writing as the Paris correspondent for The New Yorker (except for a gap during World War II) until almost the end of her life. She used the pen name Genêt. She became a prominent member of the American expatriate community that included Ernest Hemingway, F. Scott Fitzgerald, John Dos Passos, e.e. cummings, Hart Crane, Djuna Barnes, Ezra Pound, and Gertrude Stein — the world of the Lost Generation. Flanner played a key role in introducing the American public to new artists in Paris, including Pablo Picasso, Georges Braque, Henri Matisse, André Gide, Jean Cocteau, and the Ballets Russes, as well as places such as Les Deux Magots café and events such as the Stavisky Affair.
Her writing came to epitomize the "New Yorker style." An example: "The late Jean De Koven was an average American tourist in Paris but for two exceptions: she never set foot in the Opéra, and she was murdered." Flanner also was the author of one novel, The Cubical City (1926). - Nationality
- USA
- Birthplace
- Indianapolis, Indiana, USA
- Places of residence
- Indianapolis, Indiana, USA
New York, New York, USA
Paris, France
Pennsylvania, USA - Place of death
- New York, New York, USA
- Associated Place (for map)
- USA
Members
Reviews
Originally published in 1926, Flanner's "The Cubical City" was very enjoyable despite her youthful florid prose being absolutely over-the-top at times.
An early feminist classic. Delia Poole is a very sucessful Broadway set designer and has affairs with men as she pleases. Eventually she gains to her dismay, a bad reputation, which endangers her chances to marry when she finally gets around to it. Delia recognizes that this is a double standard and dares to be her own women.
I enjoyed the show more prose most of the time although it really did have its longeurs. show less
An early feminist classic. Delia Poole is a very sucessful Broadway set designer and has affairs with men as she pleases. Eventually she gains to her dismay, a bad reputation, which endangers her chances to marry when she finally gets around to it. Delia recognizes that this is a double standard and dares to be her own women.
I enjoyed the show more prose most of the time although it really did have its longeurs. show less
Reading Janet Flanner's unique journal is addictive. The material in Paris Was Yesterday includes selections from Janet Flanner's fortnightly "Letter from Paris" in The New Yorker, which she started transmitting in 1925, signed with her nom de correspondance, Genet. This is a book you must read if you have any interest in art, literature, music, French culture, European history of the late nineteen-twenties and thirties. Here is an excerpt from her notes on one of the greatest musicians of show more the century:
"With the death of Maurice Ravel, France has lost its greatest petit maitre of modern music. He was still a prodigy pupil at the Conservatoire when he composed two of the three works for which he was most famous--the "Pavane pour une Infante Defunte" and "Jeaux d'Euax," regarded as the most perfectly pianistic piece since Liszt. The hypnotic Iberian quality of "Bolero" is partially expained by his having been born at Ciboure, near the Spanish border."(p 181)
Reading the brief items I was continually impressed with the literary and philosophical references embedded in her prose. For example her note on Jean Cocteau's Les Enfants Terribles:
"Cocteau has always been a writer in the tradition of the great medieval mountebanks who worked with the charlatans of the Pont Neuf: as tightrope walker he gathers his crowd, and as soothsayer-dentist he pulls teeth and illusions, he dazzles and delights, and sells moon-powder guaranteed to cure any human ill--and truly cheap at the price."(p 60) show less
"With the death of Maurice Ravel, France has lost its greatest petit maitre of modern music. He was still a prodigy pupil at the Conservatoire when he composed two of the three works for which he was most famous--the "Pavane pour une Infante Defunte" and "Jeaux d'Euax," regarded as the most perfectly pianistic piece since Liszt. The hypnotic Iberian quality of "Bolero" is partially expained by his having been born at Ciboure, near the Spanish border."(p 181)
Reading the brief items I was continually impressed with the literary and philosophical references embedded in her prose. For example her note on Jean Cocteau's Les Enfants Terribles:
"Cocteau has always been a writer in the tradition of the great medieval mountebanks who worked with the charlatans of the Pont Neuf: as tightrope walker he gathers his crowd, and as soothsayer-dentist he pulls teeth and illusions, he dazzles and delights, and sells moon-powder guaranteed to cure any human ill--and truly cheap at the price."(p 60) show less
I had decidedly mixed feelings about this book. You do get a strong sense that Flanner and Murray were very dear and close friends/lovers, and over a very long period of time as well. And they did see quite a few people in their time. The negatives are that their world seemed to have been a very insular one, in some respects, replete with mass quantities of name-dropping, and the sneering tone of Flanner's letters regarding those for whom she didn't share opinions is rather off-putting. show more Flanner also was dead wrong on how the Cold War would turn out; she was repeatedly of the view that not only was America's government lousy (at least after 1945), but that the Russians were likely to win. Murray also makes a few curious factual slip-ups, mostly about events in 1940, which are probably the result of sloppy editing and lack of clarity. Not sure if this book can be recommended, unless you have an absolute passion for France of the post-1945 era, and even at that, you're going to get a fair dose of Italy as well. show less
Mixed bag -- but generally good -- selection of pieces written by The New Yorker's correspondent in Paris from 1925 to 1939. The first batch read like a necrology, discussing recent deaths and death-anniversaries. The real meat comes later, with analyses of things like the Stavisky Affair. As one can imagine, lots of discussions of the arts, and American ex-pats. Flanner herself pops up discreetly as a witness in a few cases. Recommended, more for art mavens and those interested in the runup show more to World War II. show less
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- Works
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- Rating
- 3.8
- Reviews
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- ISBNs
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