In the last twenty years, Michael Field has emerged as one of the most fascinating poets of the Victorian era. Through their collaborative partnership as “Michael Field,” Katharine Bradley and Edith Cooper engaged in the aesthetic and decadent movements of the fin de siècle, while their poetry and verse drama articulate ideas associated with the New Woman and boldly express queer and lesbian desire. Michael Field: Decadent Moderns extends the focus on these key literary and cultural contexts by emphasizing their continuing significance within twentieth-century literary modernism. Through a series of interdisciplinary essays, this book addresses Michael Field’s energetic engagements with a range of topics including ecology, perfume, tourism, art history, sculpture, formalism, classics, and book history. In doing so, Michael Field: Decadent Moderns highlights the modernity, radicalism, and relevance of their work, both within the nineteenth and twentieth centuries as well as in our own cultural moment.

Contributors: Leire Barrera-Medrano, Joseph Bristow, Jill R. Ehnenn, Sarah E. Kersh, Kristin Mahoney, Catherine Maxwell, Alex Murray, Sarah Parker, Margaret D. Stetz, Kate Thomas, and Ana Parejo Vadillo.

The enchanting pottery created by the Mimbres people of southwestern New Mexico is considered by many scholars to be unique among all the ancient art traditions of North America. Distinguished by their elaborate hand-painted black-on-white designs, Mimbres vessels have inspired artists and collectors, and many insist that they are unrivaled in several millennia of pottery making.

While the attention to the extraordinary Mimbres painted pottery is well merited, the focus on its artistry alone has obscured other equally remarkable achievements and compelling questions about this unique and sophisticated society. Was the society as truly egalitarian as it has often been suggested? Was the pottery produced by specialists? How did Mimbres architecture—among the first to break living spaces into apartment-style room blocks—reflect the relationships among individuals, families, and communities? Did aggregate housing units translate into social equality, or did subtle hierarchies exist?

Tracing the way technology evolved in ceramic decoration, architecture, and mortuary practices, this collection of eight original contributions brings new insights into previously unexplored dimensions of Mimbres society. The contributors also provide vivid examples of how today’s archaeologists are linking field data to social theory.

In eighteenth-century France, the ability to lose oneself in a character or scene marked both great artists and ideal spectators. Yet it was thought this same passionate enthusiasm, if taken to unreasonable extremes, could also lead to sexual deviance, mental illness—even death. Women and artists were seen as especially susceptible to these negative consequences of creative enthusiasm, and women artists, doubly so.

Mary D. Sheriff uses these very different visions of enthusiasm to explore the complex interrelationships among creativity, sexuality, the body and the mind in eighteenth-century France. Drawing on evidence from the visual arts, literature, philosophy, and medicine, she portrays the deviance ascribed to both inspired men and women. But while various mythologies worked to normalize deviance in male artists, women had no justification for their deviance. For instance, the mythical sculptor Pygmalion was cured of an abnormal love for his statue through the making of art. He became a model for creative artists, living happily with his statue come to life. No happy endings, though, were imagined for such inspired women writers as Sappho and Heloise, who burned with erotomania their art could not quench. Even so, Sheriff demonstrates, the perceived connections among sexuality, creativity, and disease also opened artistic opportunities for creative women took full advantage of them.

Brilliantly reassessing the links between sexuality and creativity, artistic genius and madness, passion and reason, Moved by Love will profoundly reshape our view of eighteenth- century French culture.