They were both members of the so-called Oxford Six—and it seems that Isadora has been keeping a surprising secret all these years. Could the attack on Professor Lowell have its roots in a fifty-year-old murder? And who is targeting Isadora and the surviving members of the Oxford Six?
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Anna, Isadora, and Tansy, the dog walking detectives, make it their business to find out. This mystery series for adult readers is an intriguing new departure for award-winning YA writer Annie Dalton. Dalton is the author of more than thirty novels for children and young adults, including the Angels Unlimited series.
Halaman terpilih Daftar Isi. Isadora appeared as a half-clothed Greek. She was the first artist to appear uncinctured, barefooted and free. She arrived like a glorious bounding Minerva in the midst of a cautious corseted decade. The clergy, hearing of though supposedly without ever seeing her bare calf, denounced it as violently as if it had been golden. Despite its longings, for a moment America hesitated, Puritanism rather than poetry coupling lewd with nude in rhyme.
But Isadora, originally from California and by then from Berlin, Paris and other points, arrived bearing her gifts as a Greek. She came like a figure from the Elgin marbles. The world over, and in America particularly, Greek sculpture was recognized to be almost notorious for its purity.
The overpowering sentiment for Hellenic culture, even in the unschooled United States, silenced the outcries. Isadora had come as antique art and with such backing she became a cult.
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Thus she inspired people who had never been inspired in their lives and to whom inspiration was exhilarating, useless and unbecoming. Exalted at the concert hall by her display of Greek beauty, limbs and drapes which though they were two thousand years old she seemed to make excitingly modern, her followers, dazzled, filled with Phidianisms, went home to Fords, big hats and the theory of Bull Moose, the more real items of their progressive age.
Dancing appeals less to the public than the other two original theatrical forms, drama and opera unless, like the Russian Ballet, dancing manages to partake of all three. Nevertheless, Isadora not only danced but was demanded all over America and Europe. On the Continent she is more widely known today than any other American of our decade, including Woodrow Wilson and excepting only Chaplin and Fairbanks, both of whom, via a strip of celluloid, can penetrate to remote hamlets without ever leaving Hollywood.
But Isadora has gone everywhere in the flesh. She has danced before kings and peasants. She penetrated to the Georgian States of the Caucasus, riding third-class amid fleas and disease, performing in obscure halls before yokels and princes whom she left astonished, slightly enlightened and somehow altered by the vision.
For twenty years her life has been more exciting and fantastic than anything Zola or Defoe ever fabricated for their heroines. Her friends have run the gamut from starving poets down to millionaires. She has been prodigal of herself, her art, illusions, work, emotions and funds.
She has spent fortunes. After the war her Sunday night suppers in the Rue de Pompe were banquets where guests strolled in, strolled out, and from low divans supped principally on champagne and strawberry tarts, while Isadora, barely clad in chiffon robes, rose when the spirit moved her to dance exquisitely. Week after week came people whose names she never knew. They were like moths. She once gave a house party that started in Paris, gathered force in Venice and culminated weeks later on a houseboat on the Nile.
In order to promulgate her pedagogic theories of beauty and education for the young, she has legally adopted and supported some thirty or forty children during her life, one group being the little Slavs who are still dancing in Soviet Russia.
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