This is the unusual and compelling story of Diana, a tantalizingly beautiful woman who sought love in the strange by-paths of Lesbos. Fearless and outspoken, it dares to reveal that hidden world where perfumed caresses and half-whispered endearments constitute the forbidden fruits in a Garden of Eden where men are never accepted.This is how Diana: A Strange Autobiography was described when it was published in paperback in 1952. The original 1939 hardcover edition carried with it a Publisher's Note: This is the autobiography of a woman who tried to be normal.In the book, Diana is presented as the unexceptional daughter of an unexceptional plutocratic family. During adolescence, she finds herself drawn with mysterious intensity to a girl friend. The narrative follows Diana's progress through college; a trial marriage that proves she is incapable of heterosexuality; intellectual and sexual education in Europe; and a series of lesbian relationships culminating in a final tormented triangular struggle with two other women for the individual salvation to be found in a happy couple.In her introduction, Julie Abraham argues that Diana is not really an autobiography at all, but a deliberate synthesis of different archetypes of this confessional genre, echoing, as it does, more than a half-dozen novels. Hitting all the high and low points of the lesbian novel, the book, Abraham illustrates, offers a defense of lesbian relationships that was unprecedented in 1939 and radical for decades afterwards.

This is the unusual and compelling story of Diana, a tantalizingly beautiful woman who sought love in the strange by-paths of Lesbos. Fearless and outspoken, it dares to reveal that hidden world where perfumed caresses and half-whispered endearments constitute the forbidden fruits in a Garden of Eden where men are never accepted.This is how Diana: A Strange Autobiography was described when it was published in paperback in 1952. The original 1939 hardcover edition carried with it a Publisher's Note: This is the autobiography of a woman who tried to be normal.In the book, Diana is presented as the unexceptional daughter of an unexceptional plutocratic family. During adolescence, she finds herself drawn with mysterious intensity to a girl friend. The narrative follows Diana's progress through college; a trial marriage that proves she is incapable of heterosexuality; intellectual and sexual education in Europe; and a series of lesbian relationships culminating in a final tormented triangular struggle with two other women for the individual salvation to be found in a happy couple.In her introduction, Julie Abraham argues that Diana is not really an autobiography at all, but a deliberate synthesis of different archetypes of this confessional genre, echoing, as it does, more than a half-dozen novels. Hitting all the high and low points of the lesbian novel, the book, Abraham illustrates, offers a defense of lesbian relationships that was unprecedented in 1939 and radical for decades afterwards.

This is the unusual and compelling story of Diana, a tantalizingly beautiful woman who sought love in the strange by-paths of Lesbos. Fearless and outspoken, it dares to reveal that hidden world where perfumed caresses and half-whispered endearments constitute the forbidden fruits in a Garden of Eden where men are never accepted.This is how Diana: A Strange Autobiography was described when it was published in paperback in 1952. The original 1939 hardcover edition carried with it a Publisher's Note: This is the autobiography of a woman who tried to be normal.In the book, Diana is presented as the unexceptional daughter of an unexceptional plutocratic family. During adolescence, she finds herself drawn with mysterious intensity to a girl friend. The narrative follows Diana's progress through college; a trial marriage that proves she is incapable of heterosexuality; intellectual and sexual education in Europe; and a series of lesbian relationships culminating in a final tormented triangular struggle with two other women for the individual salvation to be found in a happy couple.In her introduction, Julie Abraham argues that Diana is not really an autobiography at all, but a deliberate synthesis of different archetypes of this confessional genre, echoing, as it does, more than a half-dozen novels. Hitting all the high and low points of the lesbian novel, the book, Abraham illustrates, offers a defense of lesbian relationships that was unprecedented in 1939 and radical for decades afterwards.