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Unknown Binding
First published April 1, 1937
Consider the time. World War. Influenza pandemic. Lost generation. Mabel came from the family of a wealthy banker in Buffalo. Educated in an elite Episcopal school, her writing demonstrates an easy familiarity with biblical imagery and phrases despite her apparent disregard for Christianity. She had married a succession of three wealthy men. Rehabbed a huge house, a money pit, in Florence, Italy. Hosted intellectuals and artists at an estate on the Hudson. As John Collier, Jr., says in the Foreword (written in 1989), the background of the life she describes in this 1937 memoir entails “the confused revolutionaries and artists who constitute her early history, and with whom Mabel shared the struggle to recover lost humanism and elemental reason, which she finally perceived in the primeval Indian world.” (xxv)
She felt compelled to reject “the decadence of the Old World—the East Coast and Europe,” according to biographer Lois Palken Rudnick. (Introduction, xiii) The first half of her life was, in her view, filled with artificiality, inauthenticity, hyperactivity, and materialism—that is, with attempts to escape from reality—in contrast to the new life she finds in Taos on the edge of the desert—an escape to reality.
The turning point, the transformation, is not sudden, although it begins with immediate fascination and quickly evolves into infatuation with the people of the pueblo. She feels love at first sight with the place and the native people, particularly Antonio (Tony) Lujan. In him she perceives Reality—unaffected, unpretentious, and beyond written, spoken, or artistic expression. Gradually, through the seasons of the year, her infatuation develops into respect, and eventually reverence, not only for Tony, but for the ways of the pueblo Indians. It must be said, however, that she idealizes their culture by avoiding any mention of their power struggles or conflicts.
Predictably, the changes in Mabel’s values lead her away from her husband Maurice Sterne as she is ever more attracted to Tony. When Maurice follows through with their original plan to return to New York, she stays behind and starts her new life with Tony in the house he has constructed for her, the house we visited. They marry in 1923, after the end of the narrative in this memoir.
Mabel was already a syndicated journalist and patron of the arts before she moved to Taos, so it’s not surprising that she hosted notable writers and artists throughout the second half of her life. It is interesting to read her lament of the imposition of Anglo education upon Indigenous children, ruining their worldview to make it easier for them to leave their community and culture and to assimilate into the dominant White society.
Her narrative weaves back and forth between the outer reality of finding and building a place to spend the rest of her life, on the one hand, and reflecting on the inner reality of self-discovery in the face of the pueblo culture. Many of these reflections are abstract meanderings, including her thoughts while under the influence of a hot mixture of peyote administered by one of Tony’s friends. She learns from this psychedelic episode but makes Tony vow that they will not use such an external means to explore their inner life together.
Edge of the Taos Desert is the fourth volume of Mabel Luhan’s four-volume autobiography and includes references to events one can guess must have been detailed in the other three books. Between 1932 and 1937, she published these as Intimate Memories, Lorenzo in Taos (about D.H. Lawrence), Winter in Taos, and Movers and Shakers. In 1947 she published Taos and its Artists. Some readers of this book (or this review) may wish to explore her other writings for she was a woman ahead of her day. In addition, include the biography by Lois Palken Rudnick, Mable Dodge Luhan: New Woman, New Worlds (University of New Mexico Press, 1987).