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La dama de la lloba
L’arrogància de l’home conquistador castigada per una dona que el menysprea massa per tenir-li por; la reina oriental que rebutja el poder i les riqueses per tal de ser completament lliure i no estar sotmesa al marit; un deliciós equívoc, amanit d’androgínia, que acaba amb una feliç història d’amor entre dues noies; les virtuts de l’amistat femenina; una proxeneta paradoxalment casta... En els bellíssims contes que conformen La dama de la lloba, la intrepidesa, l’altruisme, l’orgull i la passió de les protagonistes desafien les normes socials i capgiren els rols establerts al llarg dels segles. Renée Vivien va ser, sens dubte, una gran escriptora, però també sabia, com ens demostrà en aquest llibre prodigiós, que s’avançava de molt al seu temps.
120 pages, Paperback
First published January 1, 1904
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About the author
Renée Vivien
131 books168 followersRenée Vivien, born Pauline Mary Tarn, was a British poet who wrote in the French language. She took to heart all the mannerisms of Symbolism, as one of the last poets to claim allegiance to the school. Her compositions include sonnets, hendecasyllabic verse, and prose poetry.
Renée's poetry and novels show several sources of inspiration: Natalie Barney, Violet Shilleto, Pierre Louys, and Sappho. Natalie inspired retellings of their relationship through prose and poem. Violet Shilleto, Renée's childhood friend and love who died in 1901, appears in Renée's work through repeated images of violets and the color purple. Pierre Louys's sensual "Songs of Bilitis" and Sappho's evocative poems about women-love influenced Renée's poetic style. Sappho, in particular, became an icon for Renée--she translated the work of Sappho into modern French, and even traveled with Natalie to Lesbos in an attempt to revive a women's artist colony on the island.
Renée's poetry and novels show several sources of inspiration: Natalie Barney, Violet Shilleto, Pierre Louys, and Sappho. Natalie inspired retellings of their relationship through prose and poem. Violet Shilleto, Renée's childhood friend and love who died in 1901, appears in Renée's work through repeated images of violets and the color purple. Pierre Louys's sensual "Songs of Bilitis" and Sappho's evocative poems about women-love influenced Renée's poetic style. Sappho, in particular, became an icon for Renée--she translated the work of Sappho into modern French, and even traveled with Natalie to Lesbos in an attempt to revive a women's artist colony on the island.
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Displaying 1 - 30 of 52 reviews
October 28, 2025
Folio 2€ lesbien ou témoignage de la France avant Macron?
January 5, 2011
It seems that in the 1960's and 70's during that great burst of feminist scholarship and discussions of canon formation there was a concerted effort to translate the work of obscure turn of the century author/poet Renée Vivien into English. And I'm glad they did. For Vivien is remembered today, it is less for anything that she actually wrote than for her lifestyle and the legends that sprung up around it: her turbulent affair with Natalie Clifford Barney, her flamboyantly androgynous dress, her still-unclear death at the age of 32 that was likely complicated by alcoholism and anorexia. And that does a great disservice to her actual literary accomplishments.
And yet, despite the effort of several prominent scholars and the general interest in that time period and cultural milieu, Vivien remains a footnote to the period. A major footnote, but a footnote nonetheless. And frankly, it's not hard to see why. Which is not a knock on Vivien or her writing in the least—I immensely enjoyed the various stories collected in this slim volume. But only several stories in it was obvious to me that Vivien is an author who resolutely resists canonization; despite Karla Jay's resolute attempt in the introduction in spinning these as proto-feminist tales, even she must ultimately note that "if judged from a contemporary lesbian/feminist perspective, some of Vivien's work might appear embarrassing." Unabashedly decadent and morbid, resolutely resisting literary modernism, these are not stories that slide neatly onto university syllabi.
Because the vignettes that comprise Vivien's various stories—most which strive for a mythic quality, if not actually reworking Biblical and/or classic mythology—are feverish, hallucinogenic and quite often, downright bizarre. The actions of her characters rarely act and react according to any obvious logic, and her setting are a surreal mishmash of Victorian cultural and imperial imagery and stereotypes (one story, for example, is supposedly set in the American wilderness, but revolves around a wild tiger).
But in a way, the unabashed irreality of these stories are also their finest quality. They reminded me of exotic tropical flowers that can only be cultivated in a hothouse—they don't last very long, but then, that's not exactly the point, is it? The exchange for ephemerality is its beauty, that brief, vivid, implausible display of vivid color, shape, and scent.
"Just as once the Goddess hid herself in the depths of Venusberg and reigned there despite the turning centuries and the changing universe, so the Musicians took refuge in a Mediterranean grotto. There the blue stalactites glittered distantly like frozen stars. The sea whispered around rocks, rock whose green-algae hair was bejeweled with anemones. A wisp of foam broke over a rock wall which was more polished than marble.
'Come,' the virgin who was the incarnation of my Destiny said to me. 'But remember that those who enter this grotto may never return again among the mob of those who live.'"
-from "Sappho Enchants the Sirens"
And yet, despite the effort of several prominent scholars and the general interest in that time period and cultural milieu, Vivien remains a footnote to the period. A major footnote, but a footnote nonetheless. And frankly, it's not hard to see why. Which is not a knock on Vivien or her writing in the least—I immensely enjoyed the various stories collected in this slim volume. But only several stories in it was obvious to me that Vivien is an author who resolutely resists canonization; despite Karla Jay's resolute attempt in the introduction in spinning these as proto-feminist tales, even she must ultimately note that "if judged from a contemporary lesbian/feminist perspective, some of Vivien's work might appear embarrassing." Unabashedly decadent and morbid, resolutely resisting literary modernism, these are not stories that slide neatly onto university syllabi.
Because the vignettes that comprise Vivien's various stories—most which strive for a mythic quality, if not actually reworking Biblical and/or classic mythology—are feverish, hallucinogenic and quite often, downright bizarre. The actions of her characters rarely act and react according to any obvious logic, and her setting are a surreal mishmash of Victorian cultural and imperial imagery and stereotypes (one story, for example, is supposedly set in the American wilderness, but revolves around a wild tiger).
But in a way, the unabashed irreality of these stories are also their finest quality. They reminded me of exotic tropical flowers that can only be cultivated in a hothouse—they don't last very long, but then, that's not exactly the point, is it? The exchange for ephemerality is its beauty, that brief, vivid, implausible display of vivid color, shape, and scent.
"Just as once the Goddess hid herself in the depths of Venusberg and reigned there despite the turning centuries and the changing universe, so the Musicians took refuge in a Mediterranean grotto. There the blue stalactites glittered distantly like frozen stars. The sea whispered around rocks, rock whose green-algae hair was bejeweled with anemones. A wisp of foam broke over a rock wall which was more polished than marble.
'Come,' the virgin who was the incarnation of my Destiny said to me. 'But remember that those who enter this grotto may never return again among the mob of those who live.'"
-from "Sappho Enchants the Sirens"
March 6, 2018
Woman of the Wolf and Other Stories is a collection of short stories with an obvious agenda: Men are the bane of women and life is way better off without them. I don't blame Vivien a bit--being a lesbian in the 1900s was probably rife with annoying men, be it from the terrible misogyny or inability to understand female sexuality. The stories are mostly in the vein of men pursuing women with no interest to them; it's (hilariously) written in their point of view of these men baffled and overreaching in their goal of basically obtaining these women, and Vivien's analysis is spot on. We never get the women's point of view, and it shows that her writing was for women who could relate to these persistent men.
Another story I loved was "Prince Charming", a story told in fairly tale style with a fabulous twist ending, and the story "The Jewel(?)" with the gorgeous Madame pulling a knife on a man forcing himself on her was BADASS. Vivien writes female characters not as complex as some feminist writers do, but in roles earlier denied them. The women in her stories are martyrs: they die for what they believe in, the are stronger than the men that balk to their roles, and they are otherworldly in power and beauty. They fight for their autonomy and won't shrink from their passion. It's crazy cool.
Anyways, it's gorgeous, but hell did Vivien hate men. I don't blame her living in the time that she did, but its virulence does make me laugh--her writing can be ridiculous. 4/5 stars because I thought too many of the stories were too similar and the female characters were not particularly "deep". There wasn't much character in them other than their goal of putting men in their place.
Another story I loved was "Prince Charming", a story told in fairly tale style with a fabulous twist ending, and the story "The Jewel(?)" with the gorgeous Madame pulling a knife on a man forcing himself on her was BADASS. Vivien writes female characters not as complex as some feminist writers do, but in roles earlier denied them. The women in her stories are martyrs: they die for what they believe in, the are stronger than the men that balk to their roles, and they are otherworldly in power and beauty. They fight for their autonomy and won't shrink from their passion. It's crazy cool.
Anyways, it's gorgeous, but hell did Vivien hate men. I don't blame her living in the time that she did, but its virulence does make me laugh--her writing can be ridiculous. 4/5 stars because I thought too many of the stories were too similar and the female characters were not particularly "deep". There wasn't much character in them other than their goal of putting men in their place.
February 6, 2021
this was an interesting collection but i didnt really ~like it.... but as a sapphic paris enthusiast i did enjoy learning more about [and finally being able to read] renée vivien. i did think karla jay's intro to the collection was pretty trite especially in its attempts to mold viven into a feminist icon... like she's cool and all bc she's gay but like she's a complicated an sometimes gross figure & i dont want to look up to her, i dont need to look up to her to find her work + life interesting. and jay also calls the racism of vivien within these stories [reader, there is lots of racism (especially anti-native racism i would say?)!!!] "unwitting/unconcious" which is like laughable at best lol. i mean im pretty sure there is a lot of work around the connection between the way that those who identified w 'inversion'/sexological discourses of the time around queerness and deep anti-blackness & racism in how they even conceptualise & represent dissident sexuality.... and i think you can absolutely find the beginnings of that in vivien's work too..
most of the stories are rly short which is good or bad depending on the story! i think my faves were the friendship of women (<-- made me cry bc of naomi + ruth), prince charming & the sisters of silence (<-- silent queer nuns :)))).
most of the stories are rly short which is good or bad depending on the story! i think my faves were the friendship of women (<-- made me cry bc of naomi + ruth), prince charming & the sisters of silence (<-- silent queer nuns :)))).
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May 12, 2022Encore une fois, beaucoup de poésie dans l'écriture, qui se met au service de récits courts, percutants, puissants, sacralisant le féminin. Les ambiances sont lourdes, noires, viciées. La haine de l'autrice pour les hommes ne fait aucun doute. Je n'imagine pas le retentissement de tels écrits en 1904 !
August 22, 2024
The seventeen prose tales and poems in this collection are a colorful array of time periods and settings, each a miniature world bursting with vibrant characters and unexpected twists. Renaissance Italy, Biblical Persia, Ancient Greece, and more appear, each stop offering a unique perspective on gender relations.
The opening story, narrated by a pompous Parisian socialite, sets the tone for the collection. His failed attempts to seduce a woman on a sinking ship highlight the recurring theme of male desire as a toxic force. Vivien's prose deftly subverts the traditional courtly game, showcasing women who refuse to be passive victims (Vashti was my favorite). Half of the stories are told from a male perspective, and serve as cautionary tales, exposing the darkness and sinister minds of the narrators.
Giuseppe Bianchini, from "The Cruelty of Gemstones," is a prime example. His grumblings against his "implacable" mistress frame his own crimes of rape and murder. Similarly, Blue Dirk, narrator of "Forest Betrayal," reveals his own dark nature despite his protestations of innocence. These stories, along with the female narrator of "Bona Dea" who rejects men entirely, paint a compelling picture of the toxic masculinity prevalent in the collection.
While the collection celebrates female empowerment, it doesn't shy away from exploring the complexities of gender dynamics. The stories featuring fearless women often position men as mere sidekicks, highlighting their comparative ineptitude. However, these narratives, along with the lyrical sprinkling of Sapphic utopias, cannot entirely shake off the accusatory undertone. Vivien's female protagonists may demonstrate independence, but the collection ultimately reveals the interconnectedness of male and female experiences.
The vignettes that comprise Vivien's stories are feverish, hallucinogenic, and often bizarre. Her characters rarely adhere to conventional logic, and her settings are a surreal blend of Victorian imagery and stereotypes. However, this unabashed unreality is also the collection's greatest strength. These stories are like exotic tropical flowers, valued not for their longevity but for the spectacular intensity of their brief existence.
The opening story, narrated by a pompous Parisian socialite, sets the tone for the collection. His failed attempts to seduce a woman on a sinking ship highlight the recurring theme of male desire as a toxic force. Vivien's prose deftly subverts the traditional courtly game, showcasing women who refuse to be passive victims (Vashti was my favorite). Half of the stories are told from a male perspective, and serve as cautionary tales, exposing the darkness and sinister minds of the narrators.
Giuseppe Bianchini, from "The Cruelty of Gemstones," is a prime example. His grumblings against his "implacable" mistress frame his own crimes of rape and murder. Similarly, Blue Dirk, narrator of "Forest Betrayal," reveals his own dark nature despite his protestations of innocence. These stories, along with the female narrator of "Bona Dea" who rejects men entirely, paint a compelling picture of the toxic masculinity prevalent in the collection.
While the collection celebrates female empowerment, it doesn't shy away from exploring the complexities of gender dynamics. The stories featuring fearless women often position men as mere sidekicks, highlighting their comparative ineptitude. However, these narratives, along with the lyrical sprinkling of Sapphic utopias, cannot entirely shake off the accusatory undertone. Vivien's female protagonists may demonstrate independence, but the collection ultimately reveals the interconnectedness of male and female experiences.
The vignettes that comprise Vivien's stories are feverish, hallucinogenic, and often bizarre. Her characters rarely adhere to conventional logic, and her settings are a surreal blend of Victorian imagery and stereotypes. However, this unabashed unreality is also the collection's greatest strength. These stories are like exotic tropical flowers, valued not for their longevity but for the spectacular intensity of their brief existence.
December 12, 2018
Courts contes pervers, ironiques, qui détournent d’une manière éloquente les tropes sadiens. Les femmes préfèrent y mourir aux griffes des monstres que d’être sauvés par les héros virils qui forceront leur étreinte. Les hommes y commentent les atrocités que l’on sait, plaidant la nature et la normalité. Une pierre au regard torve dans l’édifice en construction d’une histoire littéraire reconquise par les écrivaines.
Date de publication originale: 1904.
Date de publication originale: 1904.
November 18, 2019
My favorite story was "Prince Charming" by far. I enjoyed all of them but they get a little repetitive. Her writing is very poetical but I didn't find it very engaging. Some of the stories are very obviously lesbian and/or feminist but a lot of them are told from a man's perspective - in an obviously critical way, but I got a little tired of hearing the point of view of men when she had so much more to offer. Finally, some aspects are casually racist, so there quite a few cringe moments for me.
January 3, 2021
The Woman of the Wolf is an enjoyable collection of short stories, which is subversive and fierce in combining myths, fairy tales and biblical stories. Renée Vivien has crafted confident female characters who will forge their own destinies rather than submit to traditional and societal expectations. As often with short stories, some are stronger than others and my favourite was the multilayered and keenly observed The Woman of the Wolf.
3/5🌟
3/5🌟
January 28, 2018
A quem interessar possa,
Traduzi aqui alguns textos dela.
Traduzi aqui alguns textos dela.
October 22, 2021
Une fantastique nouvelle édition des nouvelles de Renée Vivien, par un éditeur anglais cette fois-ci, mais avec le choix de lecture des nouvelles traduites ou non-traduite (l'édition que j'ai lu). Je ne peux qu'admirer la qualité de l'introduction (notamment ces remarques sur #metoo très bien introduites; mais toute la présentation de la nouvelle éponyme est admirable).
On note aussi la présence d'un petit texte qui porte sur la traduction des nouvelles, le genre à l'écrit et de comment une autrice comme Renée Vivien (dont la subversion du genre par des adjectifs ou des brefs mots ça et là permettent un des plaisirs du texte) apporte une certaine difficulté à la simple traduction.
Je loue finalement la qualité de l'appareil critique du texte et les, parfois, pas tout le temps, introductions aux différents textes qui s'attardent à retracer leur origine, les références qu'ils convoquent et les allusions à d'autres textes qui sont faites. Une de ces introduction, pour une de mes nouvelles préférée (Blanche comme l'écume), m'a permis d'ajouter une lecture supplémentaire à ses motifs de couleurs présents dans le recueil: on connaît bien les Violette pour la mort et le deuil qui évoque son amie morte très jeune, le jaune dans ses débuts pour l'amour et Nathalie Barney, mais là, l'éditrice apporte une précision sur la couleur blanche qui ne m'a jamais traversé l'esprit!!!
Relire pour une je-ne-sais-combientième-fois ce recueil de nouvelles ne m'a toujours pas lassé, je découvre encore de nouvelles choses (merci à l'édition pour cela), j'ai toujours du plaisir à ces lectures et je semble bien parti· pour ne jamais m'en lasser.
On note aussi la présence d'un petit texte qui porte sur la traduction des nouvelles, le genre à l'écrit et de comment une autrice comme Renée Vivien (dont la subversion du genre par des adjectifs ou des brefs mots ça et là permettent un des plaisirs du texte) apporte une certaine difficulté à la simple traduction.
Je loue finalement la qualité de l'appareil critique du texte et les, parfois, pas tout le temps, introductions aux différents textes qui s'attardent à retracer leur origine, les références qu'ils convoquent et les allusions à d'autres textes qui sont faites. Une de ces introduction, pour une de mes nouvelles préférée (Blanche comme l'écume), m'a permis d'ajouter une lecture supplémentaire à ses motifs de couleurs présents dans le recueil: on connaît bien les Violette pour la mort et le deuil qui évoque son amie morte très jeune, le jaune dans ses débuts pour l'amour et Nathalie Barney, mais là, l'éditrice apporte une précision sur la couleur blanche qui ne m'a jamais traversé l'esprit!!!
Relire pour une je-ne-sais-combientième-fois ce recueil de nouvelles ne m'a toujours pas lassé, je découvre encore de nouvelles choses (merci à l'édition pour cela), j'ai toujours du plaisir à ces lectures et je semble bien parti· pour ne jamais m'en lasser.
December 20, 2020
This one... wasn’t really for me. I just thought a lot of the viewpoints were outdated. A lot of these stories had strong stars but ultimately left me confused and feeling slightly underwhelmed. I guess it’s a good thing for me that this was only 110 pages! A shame I didn’t enjoy them more.
March 24, 2023
Rep: lesbian mcs
CWs: rape, misogyny, misogynistic violence, femicide, period typical racism
CWs: rape, misogyny, misogynistic violence, femicide, period typical racism
February 23, 2024
Un recull de contes preciós. Destaco la traducció també. L'he gaudit molt durant uns dies en els quals nevessitava un llibre bo.
June 24, 2024
J'ai beaucoup aimé ce recueil de nouvelles, beaucoup d'entre elles m'ont vraiment marqué mais alors Bona Dea je n'arrive pas à me la sortir de la tête.
February 26, 2023
girlboss slay
February 9, 2022
Globalement très bon, quoique un peu inégal. Surtout délicieusement misandre.
July 1, 2012
4,5 étoiles.
La Dame à la louve est un recueil de dix-sept nouvelles paru au début du 20e siècle, mais dont le style correspond plutôt à celui de la fin de l’époque précédente : le décadentisme, héritier du symbolisme. Les thèmes correspondent également à cette esthétique dite fin-de-siècle, avec ses dandys, ses femmes élégantes, les amours homosexuelles et un aspect très éclaté de l’intrigue. Ce dernier se marque surtout dans le rassemblement des divers récits : ceux-ci peuvent sembler très différents, par les lieux et les époques qu’ils mettent en scène (de l’Antiquité au 20e siècle, ainsi que dans des temps indéterminés, en Europe, en Amérique, sur terre comme sur mer), mais ont tout de même un point commun qui est la supériorité de la femme sur l’homme. Les rôles traditionnels semblent inversés dans ces nouvelles : les figures féminines y sont fortes, déterminées, courageuses, tandis que les hommes se montrent peureux, fuyants et faibles. C’est pourtant la plupart du temps à eux qu’est confiée la narration : y transparaît alors la peur, la haine, le mépris, mais aussi, presque malgré eux, l’admiration. Dans certains récits, apparaît également un retournement de situation, montrant peut-être que certains hommes s’en sortent mieux que d’autres (par la terreur qu’ils inspirent plutôt que par l’amour, néanmoins).
Entre ces deux premiers types de nouvelles, s’en dégage un troisième selon moi, moins narratif, plus descriptif et davantage centré sur les femmes entre elles que sur leur affrontement avec le sexe opposé. Dans Les Sœurs du silence par exemple, est décrit un « couvent » féminin, lieu idyllique où règne l’harmonie. Plus loin, Psappha, plus connue sous le nom de Sappho, est invoquée et est celle sous laquelle la narratrice (l’auteure ?) place sa destinée.
J’ai apprécié l’ensemble de ce recueil, tous types de nouvelles confondus : Renée Vivien a le sens de la formule, un style d’écriture oralisé, donnant l’impression d’écouter un récit au coin du feu et une plume très lyrique par moments. Tous ces éléments ont su me charmer et m’entraîner dans ces histoires féminines. Je ne peux que vous conseiller vivement la lecture de ce texte peu connu, mais qui mérite de l’être.
http://minoualu.blogspot.be/2012/06/l...
La Dame à la louve est un recueil de dix-sept nouvelles paru au début du 20e siècle, mais dont le style correspond plutôt à celui de la fin de l’époque précédente : le décadentisme, héritier du symbolisme. Les thèmes correspondent également à cette esthétique dite fin-de-siècle, avec ses dandys, ses femmes élégantes, les amours homosexuelles et un aspect très éclaté de l’intrigue. Ce dernier se marque surtout dans le rassemblement des divers récits : ceux-ci peuvent sembler très différents, par les lieux et les époques qu’ils mettent en scène (de l’Antiquité au 20e siècle, ainsi que dans des temps indéterminés, en Europe, en Amérique, sur terre comme sur mer), mais ont tout de même un point commun qui est la supériorité de la femme sur l’homme. Les rôles traditionnels semblent inversés dans ces nouvelles : les figures féminines y sont fortes, déterminées, courageuses, tandis que les hommes se montrent peureux, fuyants et faibles. C’est pourtant la plupart du temps à eux qu’est confiée la narration : y transparaît alors la peur, la haine, le mépris, mais aussi, presque malgré eux, l’admiration. Dans certains récits, apparaît également un retournement de situation, montrant peut-être que certains hommes s’en sortent mieux que d’autres (par la terreur qu’ils inspirent plutôt que par l’amour, néanmoins).
Entre ces deux premiers types de nouvelles, s’en dégage un troisième selon moi, moins narratif, plus descriptif et davantage centré sur les femmes entre elles que sur leur affrontement avec le sexe opposé. Dans Les Sœurs du silence par exemple, est décrit un « couvent » féminin, lieu idyllique où règne l’harmonie. Plus loin, Psappha, plus connue sous le nom de Sappho, est invoquée et est celle sous laquelle la narratrice (l’auteure ?) place sa destinée.
J’ai apprécié l’ensemble de ce recueil, tous types de nouvelles confondus : Renée Vivien a le sens de la formule, un style d’écriture oralisé, donnant l’impression d’écouter un récit au coin du feu et une plume très lyrique par moments. Tous ces éléments ont su me charmer et m’entraîner dans ces histoires féminines. Je ne peux que vous conseiller vivement la lecture de ce texte peu connu, mais qui mérite de l’être.
http://minoualu.blogspot.be/2012/06/l...
August 4, 2021
אוסף של סיפורים שמרביתם ספק פנטזיות וספק מחשבות
פילוסופיות. מעטים היו ממש טובים ואילו את רובם לא
ממש הבנתי או שלא אהבתי כלל.
פילוסופיות. מעטים היו ממש טובים ואילו את רובם לא
ממש הבנתי או שלא אהבתי כלל.
June 27, 2023
bravo les lesbiennes
December 11, 2020
This was a strong mix of short stories, many very cutting about men, but made for a fun and thought provoking look at sexist attitudes and the roles of women from the perspective of men. And considering it was first published over 100 years ago, it is pointedly still very relevant!!
There are 17 tales in total that revolve around myths and bible tales, and all featuring a very dark humour that always appeals to me! It felt so modern and feminist, which is a little worrying that we don't seem to have come very far over the years with a lot of the behaviours of men still prevelant!
I loved the mix of stories and they all featured many fearless, confident and resilient women, played nicely off against the weaker sex!! Stories involve a she-wolf, deception, murder, brutality, fantasy and adventure and just seemed to be the perfect length of stories. I often find with short stories that there are more misses than hits, but not with this one! The darker they got, the more I lapped them up!!
There are 17 tales in total that revolve around myths and bible tales, and all featuring a very dark humour that always appeals to me! It felt so modern and feminist, which is a little worrying that we don't seem to have come very far over the years with a lot of the behaviours of men still prevelant!
I loved the mix of stories and they all featured many fearless, confident and resilient women, played nicely off against the weaker sex!! Stories involve a she-wolf, deception, murder, brutality, fantasy and adventure and just seemed to be the perfect length of stories. I often find with short stories that there are more misses than hits, but not with this one! The darker they got, the more I lapped them up!!
June 25, 2022
3.5/5: Renée Vivien était membre du cercle Paris-Lesbos que fréquentai plusieurs femmes lesbiennes au début du 20ème siècle. On la notamment, on la surnomma « Sappho 1900 » puisque son œuvre était largement centrée sur la vie et les amours des femmes.
J’ai adoré lire ces 17 nouvelles juste après ma lecture de L’aimée. Mes préférés sont « Le prince charmant », « L’amitié féminine » et « Blanche comme l’écume ». Certaines ne m’ont pas vraiment touché, mais je garde de cette lecture une nouvelle passion pour les révisions féministes de écrits/savoir dits « classiques »…
J’ai maintenant envie de plonger dans l’œuvre de ses contemporaines saphiques (Natalie Barney, Lianne de Pougy, Colette, Violette Leduc, …)
J’ai adoré lire ces 17 nouvelles juste après ma lecture de L’aimée. Mes préférés sont « Le prince charmant », « L’amitié féminine » et « Blanche comme l’écume ». Certaines ne m’ont pas vraiment touché, mais je garde de cette lecture une nouvelle passion pour les révisions féministes de écrits/savoir dits « classiques »…
J’ai maintenant envie de plonger dans l’œuvre de ses contemporaines saphiques (Natalie Barney, Lianne de Pougy, Colette, Violette Leduc, …)
June 30, 2024
Un recueil très éclectique, tant dans la forme, la longueur des récits que dans les lieux et temporalités évoqués. Certaines nouvelles frôlent le poème en prose, d'autres le récit initiatique. D'autres, enfin, s'astreignent au pur narratif.
Un point commun relie toutefois l'ensemble des nouvelles : le portrait monstrueux des hommes et l'éloge des femmes (et non du féminin) dans leur diversité de caractère. Celles-ci sont souvent dépeintes en parallèle d'animaux sauvages et indomptables, ce qui enrichit leur portrait par un effet de miroir qui permet le transfert des caractères bestiaux sur la caractérisation individuelle.
Une autrice qui gagne à être lue malgré la tendance à l'effacement qui la menace...
Un point commun relie toutefois l'ensemble des nouvelles : le portrait monstrueux des hommes et l'éloge des femmes (et non du féminin) dans leur diversité de caractère. Celles-ci sont souvent dépeintes en parallèle d'animaux sauvages et indomptables, ce qui enrichit leur portrait par un effet de miroir qui permet le transfert des caractères bestiaux sur la caractérisation individuelle.
Une autrice qui gagne à être lue malgré la tendance à l'effacement qui la menace...
September 27, 2022
Korta noveller med gotiskt romantiska teman, skulle man kunna säga. Tänk Baudelaire, tänk röd sammet, dekadens, tänk äkta känslor och djuphet och allvar, tänk döden som en belöning, något att se fram emot men också handlingskraftiga och starka kvinnor, som besitter ett större mod än männen, som här ofta är svaga. Det är framförallt för dessa starka kvinnors skull du ska läsa de här novellerna, uppfriskande för att vara sekelskifteslitteratur.
Den referenstunga texten är i översättningen av Hillevi Hell erg (nu Norburg) försedd med utförliga och kunniga noter som hjälper och vidgar läsningen .
Den referenstunga texten är i översättningen av Hillevi Hell erg (nu Norburg) försedd med utförliga och kunniga noter som hjälper och vidgar läsningen .
February 25, 2021
Une lecture terminée pour l’école, une série de nouvelles de Renée Vivien où elle joue avec les genres et les caractéristiques typiquement féminines et masculines en les intervertissant. Quoi que les personnages masculins soient assez grossiers, j’ai trouvé ça super moderne comme écriture pour avoir été écrit en 1904 ! Si je compare à Rachilde on se croirait à une toute autre époque. Ma nouvelle préférée est de loin Le prince charmant. Agréablement surprise par ce recueil 💓
September 1, 2025
So thankful work like this got translated, even if it wasn't til the 80s. Essential fin de siecle Parisian lesbian reading! These stories still feel quite fresh, despite the introduction's criticism that they could be seen as 'embarrassing'. Half of them are about loser men who don't understand amazing beautiful women who do not want to have sex with them, and then most of the rest involve a desire for obliteration. Hard for me to fault that!
January 28, 2020
En samling prosadikter från tidigt nittonhundratal, skriven av en engelska på franska i Paris. Språket är genomgående bra till fantastiskt och översättaren har - antar jag - gjort ett bra jobb. Det finns inte mycket till handling som så i de flesta av styckena, men det är ändå språket i sig som är det viktiga.
June 14, 2021
It was one of my favorite books of Renée Vivien : I have some favorite texts like « Blanche comme l’Ecume » or « Bona Dea ». Renée Vivien spotlights lesbianism, women’s identity in the 19th century, feminism, and also femicides or horrible behaviours from men.
I highly recommend this book or other works by Renée Vuvien, by far one of the best romantic authors of the 19th century.
I highly recommend this book or other works by Renée Vuvien, by far one of the best romantic authors of the 19th century.
September 7, 2024
The men are frightened, baffled creatures in this world. I love short stories, I hate that I’m already forgetting some of the stories cos there were so many that were mwah 😙 👌 This is seriously high calibre lesbian fiction, it’s got everything. Goddesses, death, bears, myth, royalty, slaves, the sea, ??? So good
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