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Such adventurous living had its costs. At 40 she was a "prematurely aged and bloated woman, coarsened by terrible trials" (including the tragic drowning of her two children), "labouring through gossamer steps and classical evocation". Kurth describes her decline with a great deal of compassion; unfortunately it is actually quite difficult to like Duncan. She emerges as a distinctly indulgent and, frankly, unpleasant, racist prima donna--a belle époque Joan Crawford with a dash of Judy Garland thrown in. This "Muse of the Modernists" might have danced like an angel but, as this exemplary book reveals, she was a bit of a devil offstage.--Travis Elborough END
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