By Fraser, H M
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Extra resources for Apocalyptic Vision Modernism
In her early, short plays Glaspell experimented with stage conventions and holistic theatrical expression in preparation for the full-length works upon which she now embarked. Her education had given her a good grounding in the classics and philosophy, and her European trip had exposed her to the innovations of modernism in all the arts: pictures by Matisse, Braque, Picasso at the leading galleries, and plays by Ibsen, Strindberg and Maeterlinck in the experimental theaters. With the Provincetown Players she learned to apply her literary gifts to the theater and to move ﬂuidly between genres.
Nora’s arrival helps her in this process, and she even bobs her hair to emulate the model of the New Woman that Nora represents. However, Seymore is not happy at this transformation in his own home; like Craig in Bernice, he too needs to believe that his wife (and mother) depend on him for all their needs and satisfactions. Finally, in a sorry reversal of feminist expectations,4 Mother and Diantha give up their new-found freedom, Nora departs just as suddenly as she had arrived, and Seymore can continue complaining about the chains and obligations of marriage and society life that bite into his writing time.
This lifestyle had precipitated a separation from his ﬁrst wife, and Cook was now Life and ideas 21 ﬁghting for a divorce in order to marry the much younger and very pretty Mollie Price, who, in the meantime, was working on anarchist Emma Goldman’s magazine Mother Earth in New York. It was at this point that Glaspell met Cook and the two fell in love. But they would not marry until 1913, after Cook’s divorce from Mollie, by which time he had had two children by her. Glaspell joined the Monist Society that Cook and Dell founded in 1907 for, as Cook breezily put it, “the propagation of our philosophy in the guise of religion, or religion in the guise of philosophy” (Glaspell 1927: 191).