Margaret Culkin Banning

Biographical details

Portrait of Margaret Culkin Banning Margaret Culkin Banning This marrying (1920)

It was not an embrace and yet Horatia felt it as one, and was not as she usually was while she danced—aware of only music and rhythm; now she was aware of Anthony. There was a response in her unexpected to herself. She gave herself up to his leadership and this assumption of control. All the instincts which for generations have encouraged women to lean on men awoke in her and for those few moments she knew the joy which women have always had and will always have in being cared for, in having decisions made for them and their wills bent to the desires of others.
Source: Gutenberg

Portrait of Margaret Culkin Banning Margaret Culkin Banning Spellbinders (1922)

It was as if she had somehow stepped over the phase of altercation, doubt and experiment into a manner which did the unusual easily, but only if the unusual came in her path, which accepted new rules, new customs without a flush, and most of all was able to merge the best of feminism into a fine yet unchristened ease of sex. She did not need either the little fears or defenses of her mother or the larger ones of Margaret Duffield. It did not occur to her that she was very complete in herself and satisfying to herself.
Source: Gutenberg

Portrait of Margaret Culkin Banning Margaret Culkin Banning Half loaves (1921)

There were many nights when she sat listening to the men talking about the affairs which were absorbing almost all thinking people’s minds—the sinking of ships at sea, the slaughters of war, the advances and retreats of the hostile armies, the surmises as to new alliances—all of it deepening in Cecily her natural sense of the gravity of the world’s affairs and of the world’s dangers. Then when they stopped—and they would stop when her comments or queries became too intense, too worried—she always marveled at the way they, and Dick especially, could spring back to lightness of thought and word.
Source: Gutenberg

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