front cover of Butterfly, the Bride
Butterfly, the Bride
Essays on Law, Narrative, and the Family
Carol Weisbrod
University of Michigan Press, 2004
Carol Weisbrod uses a variety of stories to raise important questions about how society, through law, defines relationships in the family. Beginning with a story most familiar from the opera Madame Butterfly, Weisbrod addresses issues such as marriage, divorce, parent-child relations and abuses, and non-marital intimate contact. Each chapter works with fiction or narratives inspired by biography or myth, ranging from the Book of Esther to the stories of Kafka. Weisbrod frames the book with running commentary on variations of the Madame Butterfly story, showing the ways in which fiction better expresses the complexities of intimate lives than does the language of the law.

Butterfly, the Bride looks at law from the outside, using narrative to provide a fresh perspective on the issues of law and social structure---and individual responses to law. This book thoroughly explores relationships between inner and public lives by examining what is ordinarily classified as the sphere of private life---the world of family relationships.
Carol Weisbrod is Ellen Ash Peters Professor of Law at the University of Connecticut. Her other books include The Boundaries of Utopia and Emblems of Pluralism.
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front cover of Pierre Loti
Pierre Loti
Richard M. Berrong
Reaktion Books, 2018
Few authors have led lives as interesting as that enjoyed by French novelist and travel writer Pierre Loti (1850–1923)—and still fewer have worked so hard to make their lives appear even more romantic than they already were. As a career officer in the French navy, Loti participated in expeditions that took him to locales which even today seem exotic, giving rise to four decades of novels, travelogues, and autobiographical narratives, some of which went through hundreds of editions in France and were translated into dozens of languages. And as Richard M. Berrong reveals in this colorful biography, the extravagances of Loti’s often very public private life were as interesting as his art.

With Loti’s financial and artistic success came notoriety, which he delighted in enhancing by staging elaborate costume balls—to which (as one does) he invited the photographic press. The artistically inclined royalty of his day, including Princess Alice of Monaco and Queen Elizabeth of Rumania, sought him out as confidant. Sarah Bernhardt had him write plays for her. And although his parties and hobnobbing with titled nobility hurt his standing as a serious author in his later years, they can do nothing to diminish the legacy of an artist whom Henry James hailed as a “remarkable genius,” “the companion, beyond all others, of my own selection,” and whose writing led Willa Cather to confess “she would swoon with joy if anyone saw traces of Loti in her work.” 
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