Abstract

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 44, no. 1. © 2018 by Olga Zilberbourg 95 Olga Zilberbourg Helen More’s Suicide My retired colleague Marguerite called to tell me of Helen More’s suicide. “Of all the sad, ludicrous things people do to themselves!” She invited me over. “Thursday night, as usual. I could use the company of younger people.” It had been about a year since I’d first been invited to these Thursdays —monthly literary and musical soirees Marguerite hosted in her living room. Helen had been a regular at Marguerite’s for several decades; the two women were close contemporaries and each a celebrity in her own field. Helen was scholar of the English Romantics at the same university where Marguerite had taught Flaubert, Zola, and Balzac, and where I was now a junior faculty member in the English department. I’d heard of Professor More long before I met her: she lectured at the university from the 1960s until being forced into retirement in 2006 ostensibly due to age. She had a reputation as a militant feminist who eagerly engaged in battles about appointments and promotions, and her politics could have had something to do with it. “Are they sure it was a suicide?” In person Helen was a quiet, reticent woman with a sly, sarcastic sense of humor, and the idea that she might’ve committed suicide seemed outlandish. Vague murder scenarios floated in my mind. A disgruntled student? A male professor, passed over for promotion years ago and blaming her for his career failure? 96 Olga Zilberbourg “Yes, quite. The details are unpleasant, but do you know what she wrote in her suicide note?” “Of course she left a note.” “She said, ‘Thanks for the trip. Love to all.’” I couldn’t help laughing. “Yet when you think that having written that, she took all those pills and put a plastic bag over her head,” Marguerite’s voice broke. “Anyway, it’s not a conversation to have over the telephone. Do come over.” On Thursday afternoon, having collected the student papers after the last exam of the semester, I took the subway down to Greenwich Village. Marguerite lived on a third floor walkup, in a wonderfully spacious and tall-ceilinged apartment that back in the 1970s she and her husband had converted from a pillow factory. Since her husband’s death ten years earlier, the apartment had slowly turned into a trap for Marguerite. She suffered from arthritis in her hands, shoulders, and knees, and walking up and down the stairs became a nearly impossible exercise. She ventured out once or twice a week with the assistance of a visiting nurse. The place could easily fetch three or four million dollars, and Marguerite could use the money. Yet she was reluctant to sell. “I’d rather go without bread than without my piano and my books,” she insisted. A feeling of reverence and trepidation caught my breath as I climbed the stairs to Marguerite’s apartment. One never knew what kind of celebrity of the arts or music world could show up on any given Thursday. In her lifetime, Marguerite had known everyone, from Sartre and de Beauvoir to Picasso and Chagall. In the last few years the circle of her acquaintances seemed to dwindle, and yet still world-renowned musicians, poets, playwrights sometimes appeared among the circle of her former colleagues and students. I rang the doorbell and waited for several minutes as Marguerite crept to the door. “I’m afraid you’re my only guest tonight,” she said through the door, struggling with the lock and the knob. Finally, she pushed the door open. “Several people cancelled because of the end of the semester, and then of course, there’s the funeral. But come in, come in—we’ll talk of that later.” Marguerite led me into the living room, heavily shaded from the street and dimly lit with two floor lamps. Decorated with musical instruments, piles of books on the floor and on the low tables, and bright Olga Zilberbourg 97 modernist watercolors on the walls, the room seemed to belong to a royal palace, a vast, untouchable space. Usually Helen or one of Marguerite ’s...