The years covered in this second novel in Whip Smart: The Lola Montez Series are more extensively documented, as far as the real-life Lola’s adventures and lovers are concerned, than the mysterious year in which the first book in the series began (Whip Smart: Lola Montez Conquers the Spaniards). Consequently, the list of historians and biographers I wish to thank for their excellent works about Lola or the historical personalities with whom she interacts is also longer. I should reiterate, however, that—while based on truth—Whip Smart: Lola Montez and the Poisoned Nom de Plume pours the factual meetings, love affairs, animosities and dangers into an overflowing champagne fountain of adventure and intrigue. It’s a tall tale, with the kind of excess that Lola might have adored—and adored toppling, too, if she’d felt so inclined.
For books about George Sand, I consulted Belinda Jack’s George Sand: A Woman’s Life Writ Large (Chatto & Windus, London UK, 1999); Joseph Barry (translator and editor) for George Sand: In Her Own Words (Anchor Press/Doubleday, New York, 1979); and Andre Maurois’ Lelia: The Life of George Sand (Transl. from French by Gerard Hopkins, first published by Jonathan Cape, 1953. Reprint of the 1953 ed. published by Harper, New York).
For Alexandre Dumas, firstly, of course, I thank the man himself for his incomparable The Three Musketeers (Transl. and with an introduction by Richard Pevear, Penguin Classics Deluxe Edition, Penguin Books, 2006) and The Count of Monte Cristo (Transl. and with an introduction by Robin Buss, Penguin Books, 1996). Both of these novels were originally published during the same years: 1844-1845. For lively and informative biographies about Dumas, I consulted Claude Schopp’s Alexandre Dumas: Genius of Life (Transl. by A. J. Koch, Franklin Watts, New York, 1988); André Maurois’ Three Musketeers: A Study of the Dumas Family (Transl. by Gerard Hopkins, Jonathan Cape Ltd., 1957); and Alexandre Dumas by Michael Ross (David & Charles Inc., Vermont USA, 1981).
Alan Walker’s masterful three volume biography of Franz Liszt was a pleasure to read. For this novel, I consulted the first volume, Franz Liszt: The Virtuoso Years 1811-1847 (Vol. 1), Revised Edition. Cornell University Press, New York, 1987. First ed. 1983.
For historical information about Lola Montez, the following biographies are invaluable: Bruce Seymour’s Lola Montez: A Life (Yale University Press, 1996); Lola Montez by Amanda Darling [pseud.] (Stein and Day, Inc., New York, 1972); James Morton’s Lola Montez: Her Life and Conquests (Portrait Books: Little Brown Group, London, 2007) and the odd but fascinating volume by Horace Wyndham, The Magnificent Montez: From Courtesan to Convert (New York, Hillman-Curl, [1936?]).
A curious enthusiast should also delve into Lola’s own interpretations and amusing bon mots, by reading Lectures of Lola Montez Countess of Landsfeld Including Her Autobiography. Kessinger Publishing’s Rare Reprints. First published by Rudd & Carleton, New York, 1858.
I would like to thank my wonderful publishers, Astor + Blue Editions in New York, for believing in this series and giving their enthusiastic go-ahead to a long-awaited dream. Merci beaucoup to Robert Astle and Tony Viardo, for everything.
Thanks as always to my fabulous partner, Andrew Willmer, who has lived patiently with Lola for so long, and whose storyteller’s ear, well-timed grins and chuckles, insightful suggestions and finely-tuned heart have fueled this novel, as much as the first.
Thanks to friends and colleagues at Concordia University for their ongoing support. Huge thanks this year to Raymond Marius Boucher. Also thank you to Ted Little, Robert Reid, Nancy Helms, Marisa Lancione, Fiona Downey and Renée Dunk; to Jess Dionne, for assistance along the way; to Jose Luis (Louis) Martinez for help with Spanish. Thanks, as well, to my students in the Theatre Department for their enthusiastic interest in Lola’s adventures over the past year.
Merci to Seán Roberts and Ann O’Brien, Jonathan and Sandra Willmer, Caroline and Gary Davis.
A few historical notes:
The Beauvallon/Dujarier case was truly an international scandal, and may have helped change the judicial outcome and acceptance of duelling as an ‘affaire d’honneur.’ For a full and contemporary account in English, please see Fraser’s Magazine for Town and Country, Vol. 33, May 1846, “On a Late French Trial,” pp. 621-630.
Dr. David-Ferdinand Koreff was indeed a society doctor in Paris at this time, and he had held a university position in Berlin in animal magnetism. There was rumour that he was implicated in Marie Duplessis’ death due to his prescription of minute amounts of strychnine (Walker’s Franz Liszt: The Virtuoso Years 1811-1847, Vol. 1, p. 391, footnote; also Gros, Johannès, Un Courtisane romantique: Marie Duplessis. Paris, 1929.) Koreff did not, however, attend Henri Dujarier during the duel; that was a physician named Dr. De Guise.
After Marie Duplessis’ death, Alexandre Dumas fils wrote his first novel, La Dame aux camélias, based upon his love affair with her. It was published in 1848. When he adapted it for the stage in 1852, it became an immediate success. One year later, Giuseppe Verdi set the story to music and it became the opera, La Traviata, with the female protagonist, Marguerite Gautier, renamed Violetta Valéry. The romantic, melancholy romans à clef about the small courtesan made the fortune and fame of the younger Dumas.