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Theater in the Americas
That Furious Lesbian: The Story of Mercedes de Acosta
In this first book-length biography of Mercedes de Acosta, theatre historian Robert A. Schanke adroitly mines lost archival materials and mixes in his own interviews with de Acosta’s intimates to correct established myths and at last construct an accurate, detailed, and vibrant portrait of the flamboyantly uninhibited early-twentieth-century author, poet, and playwright.
Born to wealthy Spanish immigrants, Mercedes de Acosta (1893–1968) lived in opulence and traveled in the same social circles as the Astors and Vanderbilts. Introduced to the New York theater scene at an early age, her dual loves of performance and of women informed every aspect of her life thereafter. Alice B. Toklas’s observation, “Say what you will about Mercedes, she’s had the most important women in the twentieth century,” was well justified, as her romantic conquests included such internationally renowned beauties as Greta Garbo, Marlene Dietrich, Isadora Duncan, and Eva Le Gallienne as well as Alla Nazimova, Tamara Karsavina, Pola Negri, and Ona Munson.
More than a record of her personal life and infamous romances, this account offers the first analysis of the complete oeuvre of de Acosta’s literary works, including three volumes of poetry, two novels, two film scripts, and a dozen plays. Although only two of her plays were ever published during her lifetime, four of them were produced, featuring such stage luminaries as John Gielgud, Ralph Richardson, and Eva Le Gallienne. Critics praised her first volume of poetry, Moods, in 1919 and predicted her rise to literary fame, but the love of other women that fueled her writing also limited her opportunities to fulfill this destiny. Failing to achieve any lasting fame, she died in relative poverty at the age of seventy-five.
De Acosta lived her desires publicly with verve and vigor at a time when few others would dare, and for that, she paid the price of marginalized obscurity. Until now. With “That Furious Lesbian” Schanke at last establishes Mercedes de Acosta’s rightful place as a pioneer—and indeed a champion—in the early struggle for lesbian rights in this country.
Robert A. Schanke has edited a companion to this biography, Women in Turmoil: Six Plays by Mercedes de Acosta, also available from Southern Illinois University Press.
Born to wealthy Spanish immigrants, Mercedes de Acosta (1893–1968) lived in opulence and traveled in the same social circles as the Astors and Vanderbilts. Introduced to the New York theater scene at an early age, her dual loves of performance and of women informed every aspect of her life thereafter. Alice B. Toklas’s observation, “Say what you will about Mercedes, she’s had the most important women in the twentieth century,” was well justified, as her romantic conquests included such internationally renowned beauties as Greta Garbo, Marlene Dietrich, Isadora Duncan, and Eva Le Gallienne as well as Alla Nazimova, Tamara Karsavina, Pola Negri, and Ona Munson.
More than a record of her personal life and infamous romances, this account offers the first analysis of the complete oeuvre of de Acosta’s literary works, including three volumes of poetry, two novels, two film scripts, and a dozen plays. Although only two of her plays were ever published during her lifetime, four of them were produced, featuring such stage luminaries as John Gielgud, Ralph Richardson, and Eva Le Gallienne. Critics praised her first volume of poetry, Moods, in 1919 and predicted her rise to literary fame, but the love of other women that fueled her writing also limited her opportunities to fulfill this destiny. Failing to achieve any lasting fame, she died in relative poverty at the age of seventy-five.
De Acosta lived her desires publicly with verve and vigor at a time when few others would dare, and for that, she paid the price of marginalized obscurity. Until now. With “That Furious Lesbian” Schanke at last establishes Mercedes de Acosta’s rightful place as a pioneer—and indeed a champion—in the early struggle for lesbian rights in this country.
Robert A. Schanke has edited a companion to this biography, Women in Turmoil: Six Plays by Mercedes de Acosta, also available from Southern Illinois University Press.
240 pages, Paperback
First published July 2, 2003
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Displaying 1 - 3 of 3 reviews
December 13, 2011
oh boo. I have read so many biographies that included references to Mercedes de Acosta, so I was curious to find out more about her! The writing is awful. Most of it is quotes from her journals or poetry or plays, strung together so ineloquently! It reads like "clunk clunk clunk, blah blah blah." Her biographer didn't like her enough to make it a worthwhile read. Took a curious/mysterious character from 1920's and 30's Hollywood and society and made her... annoying and mundane. Oh well.
October 3, 2025
The biography “That Furious Lesbian: The Story of Mercedes de Acosta” by theatre historian Robert A. Schanke, celebrates the life of my cousin Mercedes de Acosta y Hernandez de Alba, an author, poet, and gifted playwright, rather known for her many close relationships with prominent women in the early 20th century.
Drawing on archival materials and interviews, Schanke offers an analysis of Mercedes’ often overlooked body of work, which included poetry, novels, screenplays, and plays. Two of Mercedes’ plays, “Jehanne d’Arc” and “Sandro Botticelli,” were produced starring Eva Le Gallienne, the actress she had an intense romantic affair with. The 1930s were riddled with failed screenplay efforts for Mercedes. She wrote the film script “Desperate” for famed actress Greta Garbo, another one of her lovers. The role required Garbo to wear pants for over half of the film, disguising herself as a boy to avoid being recognized by the police … and MGM production chief Irving Thalberg nixed that idea. A couple of years went by, and then Mercedes adapted “Jehanne d’Arc” into a screenplay with Greta Garbo playing the lead role, and it wasn’t produced.
Schanke examines her Spanish bloodlines, aristocratic status and the complex background of her close-knit family, giving readers insight into her relationships with her siblings. Case in Point: Mercedes most idolized her older, world famous, socialite sister Rita de Acosta [my cousin] who tipped shop assistants with loose, unset emeralds that she carried in her pockets. This delicate bond between sisters was tested when Mercedes tried to break Rita of her habit of extravagant tipping after every dress fitting in Paris, France. But there was no changing Rita, who responded frankly, “What do you expect me to give these wonderful women if I don’t give them emeralds? Surely you don't expect me to insult them with money.”
This book covers a lot of ground on Mercedes’ vibrant life, from her wealthy, upper-class upbringing in New York (traveling in the same social circles as the Astors and Vanderbilts) to her love affairs with the era's most famous actresses Greta Garbo and Marlene Dietrich. An important figure in homosexual history, Mercedes had an openly, uninhibited lesbian lifestyle and a (1920-1935) fifteen-year unconsummated marriage to Abram Poole. Even at the cost of limiting her career opportunities, she bravely carried on close personal relationships with women.
Drawing on archival materials and interviews, Schanke offers an analysis of Mercedes’ often overlooked body of work, which included poetry, novels, screenplays, and plays. Two of Mercedes’ plays, “Jehanne d’Arc” and “Sandro Botticelli,” were produced starring Eva Le Gallienne, the actress she had an intense romantic affair with. The 1930s were riddled with failed screenplay efforts for Mercedes. She wrote the film script “Desperate” for famed actress Greta Garbo, another one of her lovers. The role required Garbo to wear pants for over half of the film, disguising herself as a boy to avoid being recognized by the police … and MGM production chief Irving Thalberg nixed that idea. A couple of years went by, and then Mercedes adapted “Jehanne d’Arc” into a screenplay with Greta Garbo playing the lead role, and it wasn’t produced.
Schanke examines her Spanish bloodlines, aristocratic status and the complex background of her close-knit family, giving readers insight into her relationships with her siblings. Case in Point: Mercedes most idolized her older, world famous, socialite sister Rita de Acosta [my cousin] who tipped shop assistants with loose, unset emeralds that she carried in her pockets. This delicate bond between sisters was tested when Mercedes tried to break Rita of her habit of extravagant tipping after every dress fitting in Paris, France. But there was no changing Rita, who responded frankly, “What do you expect me to give these wonderful women if I don’t give them emeralds? Surely you don't expect me to insult them with money.”
This book covers a lot of ground on Mercedes’ vibrant life, from her wealthy, upper-class upbringing in New York (traveling in the same social circles as the Astors and Vanderbilts) to her love affairs with the era's most famous actresses Greta Garbo and Marlene Dietrich. An important figure in homosexual history, Mercedes had an openly, uninhibited lesbian lifestyle and a (1920-1935) fifteen-year unconsummated marriage to Abram Poole. Even at the cost of limiting her career opportunities, she bravely carried on close personal relationships with women.
June 30, 2024
Schanke did do thorough research for this biography. He comes up with the most detailed facts like how much a Vanderbilt party costed to give an indication of how wealthy the de Acosta family was and in what social circles they moved. He does correct some errors de Acosta made in her autobiography, but what I miss is what it was like to be an openly lesbian in the first half of the 20th century. Schanke only touches on this subject when he writes about the publication of Mercedes' autobiography. But that's it. What I also miss is the way mental health was treated and how people looked upon mental health problems back in those days.
Schanke writes he had a treasure trove of information to dig into for information as Mercedes' sold all her correspondence, including love letters, to a museum to be locked up till after the people who sent them had died. But apparently not many letters Mercedes sent have survived.
This may be the reason why this is such a thin book for a biography, at least. I get the feeling Schanke tried to fill out this book with complete poems just to fill pages. I don't mind the odd quotation or poetry segment as it is well analyzed, but that's regrettably not the case here.
Schanke left room for further exploration I think, and I hope someone will write another biography of Mercedes de Acosta, as I think she was an important figure in the LGBTQ+ community back in her day.
I would've given this biography a 3,5 stars, but as you can't give half stars, I've rounded it up to a 4.
Schanke writes he had a treasure trove of information to dig into for information as Mercedes' sold all her correspondence, including love letters, to a museum to be locked up till after the people who sent them had died. But apparently not many letters Mercedes sent have survived.
This may be the reason why this is such a thin book for a biography, at least. I get the feeling Schanke tried to fill out this book with complete poems just to fill pages. I don't mind the odd quotation or poetry segment as it is well analyzed, but that's regrettably not the case here.
Schanke left room for further exploration I think, and I hope someone will write another biography of Mercedes de Acosta, as I think she was an important figure in the LGBTQ+ community back in her day.
I would've given this biography a 3,5 stars, but as you can't give half stars, I've rounded it up to a 4.
Displaying 1 - 3 of 3 reviews