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Notes
1 John Potvin, Bachelors of a Different Sort: Queer Aesthetics, Material Culture and the Modern Interior in Britain (Manchester, UK: Manchester University Press, 2014).
2 Potvin follows Sally R. Munt in arguing for a productive aesthetic outcome of shame. She writes, “The binary opposition of pride/shame is one model for understanding contemporary social liberation movements since the 1960s, as we begin to understand the labyrinthine corridors of shame that bore into particular cultures, we also begin to understand that shame can incorporate some latent, positive effects.” Sally R. Munt, Queer Attachments: The Cultural Politics of Shame (London: Routledge, 2008), 4.
3 Christopher T. Conner and Daniel Okamura, “Introduction: Queering the Sociological Imagination,” in The Gayborhood: From Sexual Liberation to Cosmopolitan Spectacle, eds. Christopher T. Conner and Daniel Okamura (Lanham, MD: Lexington Books, 2021), 1.
4 Douglass Shand-Tucci, Boston Bohemia, Ralph Adams Cram: Life and Architecture (Amherst: University of Massachusetts Press, 1995), 1:5.
5 Douglass Shand-Tucci, The Crimson Letter: Harvard, Homosexuality, and the Shaping of American Culture (New York: St. Martin’s Griffin, 2003), 230–33.
6 Margot Peters, May Sarton: A Biography (New York: Alfred A. Knopf, 1997), 45–46.
7 Nancy Beth Gruskin, Building Context: The Personal and Professional Life of Eleanor Raymond, Architect, 1887–1989 (PhD diss., Boston University, 1998), 78–81.
8 Ethel B. Power, “A Beacon Hill Restoration,” House Beautiful, 56, no. 5 (November 1924): 462.
9 Alice T. Friedman, “Hiding in Plain Sight: Love, Life and the Queering of Domesticity in Early Twentieth-Century New England,” Home Cultures: Journal of Architecture, Design and Domestic Space 12, no. 2 (2015): 143.
10 Lucius Beebe, Boston and the Boston Legend (New York: D. Appleton-Century Co., 1935), 306–15.
11 The Rachel Raymond house is discussed in greater detail in Mary Anne Hunting and Kevin D. Murphy, Women Architects At Work: Making American Modernism (Princeton, NJ: Princeton University Press, forthcoming).
12 Ethel Power, “I’ve Got My Own Ideas,” House Beautiful 79, no. 9 (September 1937): 52–53 and 110–14.
13 May Sarton, Faithful Are the Wounds ([1955] New York: Norton, 1985), 240. Emphasis in Sarton’s text.
14 Sarton, Faithful Are the Wounds, 242. After Cheney’s death, Matthiessen published, Russell Cheney (1881–1945): A Record of His Work, With Notes by F. O. Matthiessen (New York: Oxford University Press, 1947).
15 May Sarton to Iris Blackburn, July 2, 1955; May Sarton Papers, New York Public Library, MS box 155, folder 3.
16 Francis Otto Matthiessen, Sarah Orne Jewett (Boston: Houghton Mifflin, 1929).
17 Scott Bane, A Union Like Ours: The Love Story of F. O. Matthiessen and Russell Cheney
(Amherst: University of Massachusetts Press, 2022), 117–19, 143.
18 Charles E. Buckley, interview by Robert Brown, “Oral History Interview With Charles E. Buckley, June 18–Sept. 19, 1980,” Smithsonian Archives of American Art; https://www.aaa.si.edu/collections/interviews/ oral-history-interview-charles-e-buckley-12234.
19 John P. Coolidge, Charles Kuhn, Agnes Mongan, and Sydney J. Freedberg, “Frederick Brockway Deknatel, 1905–1973,” Annual Report (Fogg Art Museum), 1972–1974 (Cambridge, MA: President and Fellows of Harvard College, 1976), 33–36.
20 Brown, “Oral History Interview With Charles E. Buckley.”
Additional information
Notes on contributors
Kevin D. Murphy
Kevin D. Murphy is Andrew W. Mellon Chair in the humanities, professor and chair in the Department of History of Art and Architecture, and interim chair of the Department of Classical and Mediterranean Studies, all at Vanderbilt University [141 Cohen Memorial Hall, Vanderbilt University, Nashville, TN 37203, [email protected]].