Jane Heap and Margaret C. Anderson, 1927

In the early thirties, for a certain clique of Left Bank–dwelling American lesbians, the place to be was not an expat haunt like the Café de Flore or Le Deux Magots. Nor was it Le Monocle, the wildly popular nightclub owned by tuxedoed butch Lulu du Montparnasse and named for the accessory worn to signal one’s orientation. According to the writer Solita Solano, the “only important thing in Paris” was a study group on the philosophies of the Greek-Armenian mystic George Ivanovich Gurdjieff, held at Jane Heap’s apartment. Heap, a Kansas-born artist, writer, and gallerist, was Gurdjieff’s official emissary, a rare honor. Under her supervision, the group engaged in intense self-revelation, narrating the stories of their lives without censoring or embellishing. As the author Kathryn Hulme explained in her memoir, Undiscovered Country: A Spiritual Adventure, the goal was to uncover the real I and thus escape being “a helpless slave to circumstances, to whatever chameleon personality took the initiative.”

Among those who gathered in Heap’s small sitting room were Janet Flanner, the New Yorker Paris correspondent and Solano’s lifelong partner; the journalist and author Djuna Barnes; and the actress Louise Davidson. One attendee, Hulme noted, would enter the room “like a Valkyrie” and “knew how to load the questions she fired at Jane, how to bait her to reveal more than perhaps was intended for beginners.” The Valkyrie was Margaret Caroline Anderson, founder of the trailblazing Little Review, with whom Heap had first encountered Gurdjieff in New York in the early twenties. Heap and Anderson, whose friendship outlasted a love affair and a professional partnership, were kindred geniuses with an exclusive affinity. When Barnes, after a fling with Heap, marveled at her “deep personal madness,” Anderson replied: “Deep personal knowledge—a supreme sanity.” Heap called Anderson “my blessed antagonistic complement.” Via their shared endeavors and the cross-pollination of their ideas—artistic, literary, and spiritual—these two remarkable women left an indelible imprint on avant-garde culture between the wars.

Margaret C. Anderson

They first met one afternoon in February 1916, when Heap dropped by the The Little Review’s office in the Fine Arts Building on South Michigan Avenue in Chicago. She was thirty-two, with cropped dark hair, a long straight nose, strong cheekbones, and a strikingly androgynous style. A typical outfit was a men’s frock coat, a high-necked shirt, and a tie. In winter, she added a Russian fur hat, and she always wore bright red lipstick. Anderson, three years her junior, had gone through a tomboy phase but was now exquisitely feminine, with a knack for projecting flawless chic despite never having any money. “Her profile was delicious,” Flanner recalled in a posthumous tribute for The New Yorker, “her hair blond and wavy, her a laughter a soprano ripple, her gait undulating beneath her snug tailleur.” Anderson set great store by looks and charm, and believed her conversation improved when she felt attractive. To an earnest young short-story writer who came to her for advice, she said: “Use a little lip rouge, to begin with. Beauty may bring you experiences to write about.”

Heap’s handsome face, Anderson wrote in her memoir The Fiery Fountains, resembled Oscar Wilde’s “in his only beautiful photograph.” And yet, “when Jane talked you were conscious of only one feature—her soft deep eyes, in which you could watch thought take form … thought that was always clearest when she talked of the indefinable, the vast, or the unknown.” An unusual childhood had cultivated Heap’s questing, expansive mind. Her English father was a warden at the Topeka State Hospital, and he lived with his family in the hospital grounds. Young Jane roamed the place, lonely and thirsty for knowledge. Adults were poor sources of enlightenment, she found, except for the patients, who seemed to possess an authentic truth and authority that others lacked. The asylum, Heap wrote in a 1917 Little Review piece, “was a world outside of the world, where realities had to be imagined…Very early I had given up everyone except the Insane.” She dreamed of one day meeting those ultimate imaginers of reality, artists. “Who had made the pictures,” she wondered, “the books, and the music in the world?”

Man Ray, Jane Heap, c.1926

Heap studied at the Art Institute of Chicago, and she returned to the city after spending a year in Germany with her first serious girlfriend. During her twenties she taught art, designed theatrical sets, acted in plays, and fell in and out of love. “I believe in living a little more than necessary,” she wrote at age twenty-four, “seeing and believing life to be as one wished it to be, creating beauty where it doesn’t happen to exist.” When she met Anderson, she was nursing a broken heart and craving a grander conduit for her ambitions. At a stroke both problems were solved: she became coeditor of the two-year-old Little Review and moved with Anderson to California. They rented a ranch house in the redwood forests of Marin County and talked, nonstop, about art. “My mind was inflamed by Jane’s ideas,” Anderson reminisced in her memoir My Thirty Years’ War, “because of her uncanny knowledge about the human composition, her unfailing clairvoyance about human motivation. This is what I had been waiting for, searching for, all my life.”

Anderson grew up in Indiana, one of three sisters in a middle-class family. At age twenty-one she dropped out of a women’s college in Ohio, where she studied piano, to move to Chicago. Her bemused parents, who expected her to marry and settle down in their “country clubs and bridge” milieu, wanted to know what on earth she was seeking. Self-expression, she said, which meant “being able to think, say, and do what you believed in.” Her father retorted: “Seems to me you do nothing else.” In Chicago, Anderson became a magazine journalist and a prolific book critic. But she was always restless for her next big adventure. The Little Review was conceived when she attributed a depressed mood to “nothing inspired” happening in her life. The remedy came to her: she would launch the most interesting magazine of all time. “I knew that someone would give the money,” she wrote in My Thirty Years’ War. “This is one kind of natural law I always see in operation. Someone would have to. Of course someone did.” She had just turned twenty-seven.

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As I was finishing my book Stranger Faces, a new app took social media by storm. It was called FaceApp and it allowed you to age your face, to see what you would look like at fifty or at eighty years old. I never downloaded it, but from the screenshots that appeared on my timeline, the versions of one’s face it spat forth seemed startlingly vivid, without falling on either side of the uncanny valley—neither too cartoonish nor too realistic. Within days, conspiracy theories cropped up. The company was Russian; the app was a cover; nobody was reading the terms and conditions; FaceApp was collecting faces. These fears may have been exaggerated, but they were not unfounded. The problem of the twenty-first century may well be the problem of the digital face.

It began with Facebook, founded in 2004 and named for the analog paper book that Harvard students used to identify one another, ostensibly to put together study groups, but actually for dating or, more likely, hooking up. The first version of the app, Facemash, was a “Hot or Not” ranking system for photos scanned from a set of online “face books” from different Harvard residential houses. This binary hot/not, yes/no model has continued to pervade the sociality of internet technology, from the thumbs up/thumbs down to the swipe left/swipe right.

Facebook’s relationship to the book has faded—the visual logic of photographs and videos has taken over the site—but its relationship to the face seems to have intensified. Over the last couple of years, users have reported being asked to “upload a photo of yourself that clearly shows your face,” purportedly to prove that you’re not a bot. Many suspect that there is, again, data harvesting afoot here, as facial recognition programs are being tested by companies like Google, Microsoft, and IBM. The worry is that this data will be used to surveil or target specific people. We have already seen facial recognition technology being used this way—in China, for example. News about the protests in Hong Kong that began in 2019 emphasized the various measures protestors are taking to prevent being identified—from scattering lasers to knocking down cameras. Read More

Choi Seungja. Photo: Sinyong Kim. Courtesy of Action Books.

Choi Seungja is one of the most influential feminist poets in South Korea. Born in 1952, Choi emerged as a poet during the eighties, a turbulent and violent decade that saw nationwide democracy movements against the authoritarian government. During that era, South Korean poets were predominantly populist, writing “people’s poetry” that protested authoritarian rule. These poets were also mostly men. But during that time, a new wave of feminist poets emerged, such as Kim Hyesoon, Ko Jung-hee, Kim Seung-hee, and Choi herself. When Choi first started publishing in 1979, her provocative poetry was dismissed by the male literary establishment who expected women to write quiet, domestic poems. As the translator and poet Don Mee Choi writes in the anthology Anxiety of Words, Choi’s language and content were “attacked for being too rough and vulgar for a female poet.”

Born in the small rural town of Yeonki, Choi Seungja attended Korea University, devoting her studies to German literature, and afterward made a living as a translator of German- and English-language books. In 1979, she was the first woman poet to publish in the prestigious journal Literature and Intellect. Despite her growing success as a poet over the following decades, Choi mostly lived alone in near poverty. In 2001, she experienced a mental illness that kept her in and out of hospitals. A community of poets came to her financial aid; the poet Kim Hyesoon, for instance, collected money each month to support Choi, and the press Munhakdongne gave her a writing space in their office so she had a place to write and translate. Read More