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On Sale: June 02, 2009
Pages: 352 | ISBN: 978-0-307-27232-4
Published by : Vintage Knopf
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Synopsis

A San Francisco Chronicle Best Book of the Year
An O, The Oprah Magazine #1 Terrific Read

In an age of bolters—women who broke the rules and fled their marriages—Idina Sackville was the most celebrated of them all. Her relentless affairs, wild sex parties, and brazen flaunting of convention shocked high society and inspired countless writers and artists, from Nancy Mitford to Greta Garbo. But Idina’s compelling charm masked the pain of betrayal and heartbreak.
 
Now Frances Osborne explores the life of Idina, her enigmatic great-grandmother, using letters, diaries, and family legend, following her from Edwardian London to the hills of Kenya, where she reigned over the scandalous antics of the “Happy Valley Set.” Dazzlingly chic yet warmly intimate, The Bolter is a fascinating look at a woman whose energy still burns bright almost a century later.

Excerpt

Chapter 1

Thirty years after her death, Idina entered my life like a bolt of electricity. Spread across the top half of the front page of the Review section of the Sunday Times was a photograph of a woman standing encircled by a pair of elephant tusks, the tips almost touching above her head. She was wearing a drop-waisted silk dress, high-heeled shoes, and a felt hat with a large silk flower perching on its wide, undulating brim. Her head was almost imperceptibly tilted, chin forward, and although the top half of her face was shaded it felt as if she was looking straight at me. I wanted to join her on the hot, dry African dust, still stainingly rich red in this black-and-white photograph.

I was not alone. For she was, the newspaper told me, irresistible. Five foot three, slight, girlish, yet always dressed for the Faubourg Saint-Honoré, she dazzled men and women alike. Not conventionally beautiful, on account of a “shotaway chin,” she could nonetheless “whistle a chap off a branch.” After sunset, she usually did.

The Sunday Times was running the serialization of a book, White Mischief, about the murder of a British aristocrat, the Earl of Erroll, in Kenya during the Second World War. He was only thirty-nine when he was killed. He had been only twenty-two, with seemingly his whole life ahead of him, when he met this woman. He was a golden boy, the heir to a historic earldom and one of Britain’s most eligible bachelors. She was a twice-divorced thirty-year-old, who, when writing to his parents, called him “the child.” One of them proposed in Venice. They married in 1924, after a two-week engagement.

Idina had then taken him to live in Kenya, where their lives dissolved into a round of house parties, drinking, and nocturnal wandering. She had welcomed her guests as she lay in a green onyx bath, then dressed in front of them. She made couples swap partners according to who blew a feather across a sheet at whom, and other games. At the end of the weekend she stood in front of the house to bid them farewell as they bundled into their cars. Clutching a dog and waving, she called out a husky, “Good-bye, my darlings, come again soon,” as though they had been to no more than a children’s tea party.

Idina’s bed, however, was known as “the battleground.” She was, said James Fox, the author of White Mischief, the “high priestess” of the miscreant group of settlers infamously known as the Happy Valley crowd. And she married and divorced a total of five times.



IT WAS NOVEMBER 1982. I was thirteen years old and transfixed. Was this the secret to being irresistible to men, to behave as this woman did, while “walking barefoot at every available opportunity” as well

as being “intelligent, well-read, enlivening company”? My younger sister’s infinitely curly hair brushed my ear. She wanted to read the article too. Prudishly, I resisted. Kate persisted, and within a minute we were at the dining room table, the offending article in Kate’s hand. My father looked at my mother, a grin spreading across his face, a twinkle in his eye.

“You have to tell them,” he said.

My mother flushed.

“You really do,” he nudged her on.

Mum swallowed, and then spoke. As the words tumbled out of her mouth, the certainties of my childhood vanished into the adult world of family falsehoods and omissions. Five minutes earlier I had been reading a newspaper, awestruck at a stranger’s exploits. Now I could already feel my great-grandmother’s long, manicured fingernails resting on my forearm as I wondered which of her impulses might surface in me.

“Why did you keep her a secret?” I asked.

“Because”—my mother paused—“I didn’t want you to think her a role model. Her life sounds glamorous but it was not. You can’t just run off and . . .”

“And?”

“And, if she is still talked about, people will think you might. You don’t want to be known as ‘the Bolter’s’ granddaughter.”

MY MOTHER WAS RIGHT to be cautious: Idina and her blackened reputation glistened before me. In an age of wicked women she had pushed the boundaries of behavior to extremes. Rather than simply mirror the exploits of her generation, Idina had magnified them. While her fellow Edwardian debutantes in their crisp white dresses merely contemplated daring acts, Idina went everywhere with a jet- black Pekinese called Satan. In that heady prewar era rebounding with dashing young millionaires—scions of industrial dynasties—Idina had married just about the youngest, handsomest, richest one. “Brownie,” she called him, calling herself “Little One” to him: “Little One extracted a large pearl ring—by everything as only she knows how,” she wrote in his diary.

When women were more sophisticated than we can even imagine now, she was, despite her small stature, famous for her seamless elegance. In the words of The New York Times, Idina was “well known in London Society, particularly for her ability to wear beautiful clothes.” It was as if looking that immaculate allowed her to behave as disreputably as she did. For, having reached the heights of wealth and glamour at an early age, Idina fell from grace. In the age of the flappers that followed the First World War, she danced, stayed out all night, and slept around more noticeably than her fellows. When the sexual scandals of Happy Valley gripped the world’s press, Idina was at the heart of them. When women were making bids for independence and divorcing to marry again, Idina did so—not just once, but several times over. As one of her many in-laws told me, “It was an age of bolters, but Idina was by far the most celebrated.”

She “lit up a room when she entered it,” wrote one admirer, “D.D.,” in the Times after her death. “She lived totally in the present,” said a girlfriend in 2004, who asked, even after all these years, to remain anonymous, for “Idina was a darling, but she was naughty.” A portrait of Idina by William Orpen shows a pair of big blue eyes looking up excitedly, a flicker of a pink-red pouting lip stretching into a sideways grin. A tousle of tawny hair frames a face that, much to the irritation of her peers, she didn’t give a damn whether she sunburnt or not. “The fabulous Idina Sackville,” wrote Idina’s lifelong friend the travel writer Rosita Forbes, was “smooth, sunburned, golden—tireless and gay—she was the best travelling companion I have ever had . . .” and bounded with “all the Brassey vitality” of her mother’s family. Deep in the Congo with Rosita, Idina, “who always imposed civilization in the most contradictory of circumstances, produced ice out of a thermos bottle, so that we could have cold drinks with our lunch in the jungle.”

There was more to Idina, however, than being “good to look at and good company.” She was a woman with a deep need to be loved and give love in return. “Apart from the difficulty of keeping up with her husbands,” continued Rosita, Idina “made a habit of marrying whenever she fell in love . . . She was a delight to her friends.”

Idina had a profound sense of friendship. Her female friendships lasted far longer than any of her marriages. She was not a husband stealer. And above all, wrote Rosita, “she was preposterously—and secretly—kind.”

As my age and wisdom grew fractionally, my fascination with Idina blossomed exponentially. She had been a cousin of the writer Vita Sackville-West, but rather than write herself, Idina appears to have been written about. Her life was uncannily reflected in the writer Nancy Mitford’s infamous character “the Bolter,” the narrator’s errant mother in The Pursuit of Love, Love in a Cold Climate, and Don’t Tell Alfred. The similarities were strong enough to haunt my mother and her sister, two of Idina’s granddaughters. When they were seventeen and eighteen, fresh off the Welsh farm where they had been brought up, they were dispatched to London to be debutantes in a punishing round of dances, drinks parties, and designer dresses. As the two girls made their first tentative steps into each party, their waists pinched in Bellville Sassoon ball dresses, a whisper would start up and follow them around the room that they were “the Bolter’s granddaughters,” as though they, too, might suddenly remove their clothes.

In the novels, Nancy Mitford’s much-married Bolter fled to Kenya, where she embroiled herself in “hot stuff . . . including horse- whipping and the aeroplane” and a white hunter or two as a husband, although nobody is quite sure which ones she actually married. The fictional Bolter’s daughter lives, as Idina’s real daughter did, in England with her childless aunt, spending the holidays with an eccentric uncle and his children. When the Bolter eventually appears at her brother’s house, she looks immaculate, despite having walked across half a continent. With her is her latest companion, the much younger, non-English-speaking Juan, whom she has picked up in Spain. The Bolter leaves Juan with her brother while she goes to stay at houses to which she cannot take him. “ ‘If I were the Bolter,’ ” Mitford puts into the Bolter’s brother’s mouth, “ ‘I would marry him.’ ‘Knowing the Bolter,’ said Davey, ‘she probably will.’ ”

Like the Bolter, Idina famously dressed to perfection, whatever the circumstances. After several weeks of walking and climbing in the jungle with Rosita, she sat, cross-legged, looking “as if she had just come out of tissue paper.” And her scandals were manifold, including, perhaps unsurprisingly, a case of horsewhipping. She certainly married one pilot (husband number five) and almost married another. There was a white-hunter husband who, somewhat inconveniently, tried to shoot anyone he thought might be her lover. And, at one stage, she found an Emmanuele in Portugal and drove him right across the Sahara and up to her house in Kenya. He stayed for several months, returning the same way to Europe and Idina’s brother’s house. Idina then set off on her tour of the few British houses in which she was still an acceptable guest, leaving the uninvited Emmanuele behind. This boyfriend, however, she did not marry.

Even before that, the writer Michael Arlen had changed her name from Idina Sackville to Iris Storm, who was the tragic heroine of his best- selling portrait of the 1920s, The Green Hat, played by Garbo in A Woman of Affairs, the silent movie version of the book. Idina had been painted by Orpen and photographed by Beaton. Molyneux designed some of the first ever slinky, wraparound dresses for her, and her purchases in Paris were reported throughout the American press. When Molyneux had financial difficulties, Idina helped bail him out. In return he would send her some of each season’s collection, delicately ruffled silk dresses and shirts, in which she would lounge around the stone-and-timber shack of the Gilgil Club.

A FARM HALFWAY UP an African mountain is not the usual place to find such an apparently tireless pleasure-seeker as Idina. Clouds was by no means a shack: by African mountain standards it was a palace, made all the more striking by the creature comforts that Idina—who had designed and built the house—managed to procure several thousand feet above sea level. It was nonetheless a raw environment. Lethal leopard and lion, elephant and buffalo, roamed around the grounds of its working farm, where “Idina had built up one of the strongest dairy herds in Africa,” according to a fellow farmer who used to buy stock from her. Idina took farming immensely seriously, surprising the Kenyans who worked for her with her appetite for hard work. Like them, too, she camped out on safari for weeks on end. But then, as Rosita put it, Idina “was an extraordinary mixture of sybarite and pioneer.”

Up at Clouds, Idina filled her dining table with everyone visiting the house. She made no distinction between her friends and the people working for her, “including the chap who came to mend the gramophone etc.” The gin flowed. She was “always most hospitable . . . absolutely charming and put one completely at one’s ease and I was bowled over by her,” wrote an acquaintance.

However, behind this hard work and high living lay a deep sadness.

When the poet Frédéric de Janzé described his friends (and enemies) in Kenya alphabetically, for Idina he wrote: “I is for Idina, fragile and frail.” When Idina is described, sometimes critically, as living “totally in the present,” it should be remembered that her past was not necessarily a happy place. Driving her wild life, and her second, third, fourth, and fifth marriages, was the ghost of a decision Idina made back in 1918, which had led to that fall from grace. On the day the First World War ended, she had written to her young, handsome, extremely rich first husband, Euan Wallace, and asked for a divorce. She then left him to go and live in Africa with a second husband, in comparison with Euan a penniless man. She went in search of something that she hadn’t found with Euan. And when, not long after, that second marriage collapsed, Idina was left to go on searching. In the words of Michael Arlen’s Iris Storm, “There is one taste in us that is unsatisfied. I don’t know what that taste is, but I know it is there. Life’s best gift, hasn’t someone said, is the ability to dream of a better life.”

Idina dreamt of that better life. Whenever she reinvented her life with a new husband, she believed that, this time round, she could make it happen. Yet that better life remained frustratingly just out of reach. Eventually she found the courage to stop and look back. But, by then, it was too late.

When she died, openly professing, “I should never have left Euan,” she had a photograph of him beside her bed. Thirty years after that first divorce she had just asked that one of her grandsons—through another marriage—bear his name. Her daughter, the boy’s mother, who had never met the ex-husband her mother was talking about, obliged.

At the end of her life, Idina had clearly continued to love Euan Wallace deeply. Yet she had left him. Why?

The question would not leave me.


From the Hardcover edition.
Frances Osborne

About Frances Osborne

Frances Osborne - The Bolter

Photo © Tony Buckingham

Frances Osborne was born in London and studied philosophy and modern languages at Oxford University. She is the author of Lilla’s Feast and The Bolter. Her articles have appeared in The Daily Telegraph, The Times, The Independent, the Daily Mail, and Vogue. She lives in London with her husband, George Osborne, and their two children.
Praise

Praise

“Engrossing and beautifully written. . . . [An] affecting story.” —San Francisco Chronicle

“Intoxicating.” —People
 
“If notorious relatives make for the best dinner-party anecdotes, then Frances Osborne should be able to dine out for decades…. Enthralling.” —The Plain Dealer

“Idina Sackville . . . could have stepped out of an Evelyn Waugh satire about the bright young things who partied away their days in the ‘20s and ‘30s, and later crashed and burned. . . . Frances Osborne . . . conjure[s] a vanished world with novelistic detail and flair.” —The New York Times

“An engaging book, drawing a revealing portrait of a remarkable woman and adding humanity to her ‘scandalous’ life. . . . Ms. Osborne has succeeded in her stated aim, to write a book that ‘has in a way brought Idina back to life.’ And what a life it was.” —The Wall Street Journal
 
“Vibrant. . . . Osborne connects vast expanses of the dots that formed Idina’s reality: the gender inequalities in Edwardian England, the economic imperatives of colonialism, the mores of upper-class adultery, the differences between Idina’s aristocratic father . . . and her merely wealthy mother.” —Newsday
 
“Intelligent, moving, and packed with exquisite detail.” —Providence Journal
 
“[Idina Sackville’s] life story, speckled with the names of the rich and famous, is a miniature history lesson, bringing into sharp focus both world wars, the Jazz Age, and the colonization of Kenya. . . . Sackville’s passion lights up the page.” —Entertainment Weekly
 
“[A] rumbustious and harrowing biography that takes us from London to Newport to Kenya. . . . A feast for the Anglophile.” —The New York Times Book Review
 
“Brilliant and utterly divine. . . . A breath of fresh air from a vanished world.” —The Daily Beast
 
The Bolter is a biographical treat.” —Good Housekeeping
 
“Fascinating. . . . Paint[s] an interesting picture of Edwardian England, its social mores and rigors giving way to the wildness of pre-depression Europe.” —Minneapolis Star Tribune
 
“An engaging, definitive final look back at those naughty people who, between the wars, took their bad behavior off to Kenya and whose upper-class delinquency became gilded with unjustified glamour.” —Financial Times
 
“A sympathetic but evenhanded portrait of a woman driven by needs and desires even she didn’t understand.” —The Columbus Dispatch
 
“Truly interesting. Osborne paints an enthralling portrait of upper class English life just before, during and immediately after the Great War. Frivolous, rich, sexy [and] achingly fashionable.” —The Observer (London)
 
“Even today Lady Idina Sackville could get tongues wagging. . . . A lively portrait of the UK-born troublemaker, a woman who took countless lovers, raised hell in England and Africa, inspired novels by Nancy Mitford and carried around a dog she named Satan. . . . Through [Idina’s] story, we not only get a sexy and difficult-to-put-down read, we also get a good look at the shadow side of this prim and proper era and the real women who defied convention to live in it.”—Jessa Crispin, “Books We Like,” NPR
 
“A racy romp underpinned by some impressive research.” —The Sunday Telegraph (London)
 
“Passionate and headstrong, Lady Idina was determined to be free even if the cost was scandal and ruin. Frances Osborne has brilliantly captured not only one woman’s life but an entire lost society.” —Amanda Foreman, author of Georgiana: Duchess of Devonshire
 
“Told very much like a novel, The Bolter introduces readers to a world where every rule is broken and creating a scene is the latest fashion accessory.” —The Daily Texan
 
“Not only is it a beautifully written, intriguing chronicle of a frenetic, privileged, and profoundly sad life, it catches a social group and the mad-cap lives they led—so luxurious, so wasted. . . . Superb.” —Barbara Goldsmith, author of Obsessive Genius and Little Gloria. . . Happy at Last
 
“Drawing on family letters, Osborne’s portrait creates sympathy not for Idina’s reckless behavior but for the emotional emptiness that provoked her far-flung, self defeating yet undeniably glamorous search for love.” —More
 
“Fascinating. . . . Beautifully written. . . . Frances Osborne brings the decadence of Britain’s dying aristocracy vividly to life in this story of scandal and heartbreak.”—Simon Sebag Montefiore, author of Young Stalin and Stalin: The Court of the Red Tsar
 
“Sex, money, glamour, and scandal make Idina Sackville’s story hard to put down.  What brings that story to life is the courage of an incorrigibly stylish survivor. Searching for the woman behind the legend, Osborne [gives us] a heroine impossible to resist.”  —Frances Kiernan, author of The Last Mrs. Astor and Seeing Mary Plain: A life of Mary McCarthy
Reader's Guide|About the Book|Author Biography|Discussion Questions|Suggestions

About the Book

The introduction, discussion questions, and suggested further reading that follow are designed to enhance your group’s discussion of The Bolter, Frances Osborne’s brilliant biography of her great-grandmother, Idina Sackville.

About the Guide

Idina Sackville was irresistible. Slight, girlish, and from one of Britain’s oldest families, she was not conventionally beautiful (she had a "shot-away chin"), but she dazzled men and women alike. Like Nancy Mitford’s character in The Pursuit of Love,  who felt herself to be “too beautiful and too gay to be burdened with a child at the age of nineteen,” Idina Sackville would be known as the woman who callously left her husband and two young sons to run away to Africa with her lover. But, as Frances Osborne deftly illustrates, the reality of the situation was much more complicated. Now, using her scandalous great-grandmother’s never-before-seen letters; the diaries of Idina’s first husband, and stories from family members, Osborne follows Idina from the champagne breakfasts and thé's dansants of lost-generation England to the farmlands of Kenya. She paints a full-bodied portrait of the Edwardian age and brings new life to an enigmatic figure whose name is still scribbled boldly across her era.

Idina’s first husband, Euan, was a dashing young cavalry officer with “two million in cash.” They had a seven-story pied-à-terre on Connaught Place overlooking Hyde Park and three estates in Scotland. Idina had everything in place for a magnificent life until Archduke Ferdinand was assassinated in Sarajevo and the world the newlyweds assumed would last forever was shattered by war. As World War I increasingly kept the couple apart—and as her husband became increasingly infatuated with another woman—Idina became a full-blown flapper, driving about London with her pet Pekingese, Satan, and pushing the boundaries a bit too far. In 1918, just after the armistice was signed, Idina was given a choice: Stay and behave, all while watching the husband she still loved move from affair to affair, or divorce Euan and never see her children again.

Idina bolted. Setting out with her soon-to-be second husband for a new adventure in Mombasa, she dreamed of a new life and new love. But nothing would live up to her expectations. Divorce followed divorce, and in between a parade of lovers, she became known as the high-priestess of the Happy Valley set, whose wild parties were tittered about because of their bed-hopping, boozing excess. An ex-husband was murdered, and a beloved friend lost to suicide. The behavior that raised eyebrows and caused frowns in England began to do the same in Kenya. When offered a second chance to be a part of her sons lives, Idina grabbed it with both hands . . . but another world war would bring more crippling loss.

About the Author

Frances Osborne was born in London and studied philosophy and modern languages at Oxford University. She is the author of Lilla’s Feast. Her articles have appeared in The Daily Telegraph, The Times, The Independent, the Daily Mail, and Vogue. She lives in London with her husband, the Chancellor of the Exchequer, and their two children.

Discussion Guides

1. Depending on who you ask, Idina Sackville was a hundred different things. Her lifelong friend Rosita Forbes claimed that not only was she a vibrant delight to her friends, “she was preposterously—and secretly—kind.” The poet Frédéric de Janzé wrote, “I is for Idina, fragile and frail.” And Frances Osborne’s mother, Idina’s granddaughter, raised her own children to believe that Idina was a bad, selfish woman. After reading The Bolter, which assessment are you most inclined to agree with?

2.  “Along with hunting, shooting, fishing, and charitable works, adultery was one of the ways in which those who did not have to work for a living could fill their afternoons.”  Does this statement fit in with your own ideas about Edwardian England? How does it differ?

3. In Edwardian England, the upper classes could misbehave so long as they were not found out. As the actress Mrs. Patrick Campbell said, “It doesn't matter what you do in the bedroom, as long as you don’t do it in the street and frighten the horses.” What do you think of this moral code of behavior?

4. Muriel, Idina’s mother, was an unconventional woman herself. How do you think Muriel’s decision to divorce Gilbert and follow her friend Annie Besant into Theosophy affected Idina’s worldview? How could her marriage to Euan be called an act of “rebelling”? Was she right to marry him?

5. World War I obviously took a toll on Idina and Euan’s marriage. Do you think the relationship would have turned out any differently had the war not forced them into such “strange wartime married life”? When Idina bolted with Charles Gordon, do you think things could have still been repaired with Euan, or was she right in thinking her marriage was a lost cause?

6. Is your opinion of Idina’s decision to be separated from her children at all affected by the double standards of the era’s divorce laws or the distant manner in which many upper-class parents brought up their children? What about Euan’s rigid ultimatums?

7. Frances Osborne writes that Idina’s passion for Kenya was to become “her longest love affair.” What do you think drew her to Africa?

8. Idina planned on having an “open” marriage with Joss, both of them were allowed to have lovers, provided that “nothing got too serious.” Do you think that an open marriage could ever work?

9. When asked whether she minded Alice de Janzé sleeping with Joss, Idina said, “But Alice is my best friend.” Idina knew that Alice would not take Joss away from her, but do you think that she really did not mind that relationship?

10. “Idina’s greatest sin was not her need for new sexual excitement but that she insisted upon marrying her boyfriends . . . thus shaking the traditional social structure grounded on lifelong marriages.” Frances Osborne suggests that it was a way to play up her role as a socially outlawed femme fatale. Do you agree? Or do you think Idina meant what she said when she wrote that marriage “is probably the only real solution to happiness”?

11. Idina was a successful and hard working farmer. She treated the people who worked for her well and, like them, went barefoot. How does this affect your view of Idina’s bad behavior?

12. Idina reconnected with her sons when they were adults and struck up a strong bond. To what extent could her relationship with them at this stage be considered mothering? Is it possible, do you think, for a woman to suddenly become a mother to her children after so many years apart? How do you think the relationship would have developed had David and Gee not been killed so soon?

13. In her glittering review of The Bolter, Michiko Kakutani of The New York Times wrote that “Idina Sackville could have stepped out of an Evelyn Waugh satire about the bright young things who partied away their days in the '20s and '30s, and later crashed and burned.” In what ways do you feel that Idina was emblematic of her times? In what ways do you feel that Idina was a victim of her times?

14. Do you think Idina could ever have had a successful marriage? How different do you think Idina’s love life would have been if she had lived in the 1990's?

15. Who might be considered an “Idina” today? Or have we lost that compelling combination of sophistication and sin?

16. Do you think Idina made any good decisions in her life? Or, which do you think was the most unfortunate one?



(For a complete list of available reading group guides, and to sign up for the Reading Group Center enewsletter, visit www.readinggroupcenter.com)

Suggested Readings

Michael Arlen, The Green Hat; Isak Dinesen, Out of Africa; Jane Fletcher Geniesse, American Priestess; Linda Lawrence Hunt, Bold Spirit; Nancy Mitford, The Pursuit of Love; Janet Wallach, Desert Queen; Evelyn Waugh, Brideshead Revisited, A Handful of Dust; Joshua Zeitz, Flapper

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