Divine Sarah is loosely based on real circumstance (and draws from certain incidents and legends in Sarah Bernhardt’s life), but the drama, narrative, and most of the characters are imagined. Combinations of characters have been formed into one, and real circumstances have been bent and mutated for the purposes of storytelling. Advance apologies to those protectors of Sarah. But I think that she would have recognized the intent behind this book—to create a truth that might have been hers within a mostly fictitious world and setting.
I am indebted to Sarah’s memoir Ma Double Vie, translated by Victoria Tietze Larson, La Dame aux Camélias by Alexander Dumas fils, the technical assistance of Bill Ratner, Alec Hodgins and his French class, and the volumes of information in public libraries and posted on various Web sites. And lastly to the power of imagination that can take scatterings of facts and fictions and create brand-new worlds. Something Sarah Bernhardt would believe in and support.
Special thanks to the people at William Morrow: Henry Ferris, for leading the charge; Michael Morrison, for his faith; and Lisa Gallagher and Sharyn Rosenblum, for their savvy.
Thanks to Nat Sobel. I am forever reminded that my words might be tucked away in a manila envelope in a drawer if not for him.
As always, thanks to Chuck Newman, Tom Lisk, Mel Saferstein, Jerry Williams, and Mel Yoken for being willing to help in a thousand different ways.
And finally, the love and support of friends and family.