In 1916, salon host Mabel Dodge entered psychoanalysis with Smith Ely Jelliffe in New York, recording 142 dreams during her six-month treatment. Her dreams, as well as Jelliffe’s handwritten notes from her analytic sessions, provide an unusual and virtually unprecedented access to one woman’s dream life and to the private process of psychoanalysis and its exploration of the unconscious. Through Dodge’s dreams—considered together with Jelliffe’s notes, annotations drawn from her memoirs and unpublished writings, and correspondence between Dodge and Jelliffe during the course of her treatment—the reader becomes immersed in the workings of Dodge’s heart and mind, as well as the larger cultural embrace of psychoanalysis and its world-shattering views. Jelliffe’s notes provide a rare glimpse into the process of dream analysis in an early psychoanalytic treatment, illuminating how he and Dodge often embarked upon an examination of each element of the dream as they explored associations to such details as color and personalities from her childhood. The dreams, with their extensive annotations, provide compelling and original material that deepens knowledge about the early practice of psychoanalysis in the United States, this period in cultural history, and Dodge’s own intricately examined life. This book will be of great interest to psychoanalysts in clinical practice, as well as scholars of the history of psychoanalysis and students of dreams.

In 1917 Mabel Sterne, patron of the arts and spokeswoman for the New York avant-garde, came to the Southwest seeking a new life. This autobiographical account, long out-of-print, of her first few months in New Mexico is a remarkable description of an Easterner's journey to the American West. It is also a great story of personal and philosophical transformation. The geography of New Mexico and the culture of the Pueblo Indians opened a new world for Mabel. She settled in Taos immediately and lived there the rest of her life. Much of this book describes her growing fascination with Antonio Luhan of Taos Pueblo, whom she subsequently married. Her descriptions of the appeal of primitive New Mexico to a world-weary New Yorker are still fresh and moving. "I finished it in a state of amazed revelation . . . it is so beautifully compact and consistent. . . . It is going to help many another woman and man to 'take life with the talons' and carry it high."--Ansel Adams

"Winter in Taos" starkly contrasts Luhan's memoirs, published in four volumes and inspired by Marcel Proust's "Remembrances of Things Past." They follow her life through three failed marriages, numerous affairs, and ultimately a feeling of "being nobody in myself," despite years of psychoanalysis and a luxurious lifestyle on two continents among the leading literary, art and intellectual personalities of the day. "Winter in Taos" unfolds in an entirely different pattern, uncluttered with noteworthy names and ornate details. With no chapters dividing the narrative, Luhan describes her simple life in Taos, New Mexico, this "new world" she called it, from season to season, following a thread that spools out from her consciousness as if she's recording her thoughts in a journal. "My pleasure is in being very still and sensing things," she writes, sharing that pleasure with the reader by describing the joys of adobe rooms warmed in winter by aromatic cedar fires; fragrant in spring with flowers; and scented with homegrown fruits and vegetables being preserved and pickled in summer. Having wandered the world, Luhan found her home at last in Taos. "Winter in Taos" celebrates the spiritual connection she established with the "deep living earth" as well as the bonds she forged with Tony Luhan, her "mountain." This moving tribute to a land and the people who eked a life from it reminds readers that in northern New Mexico, where the seasons can be harshly beautiful, one can bathe in the sunshine until "'untied are the knots in the heart,' for there is nothing like the sun for smoothing out all difficulties." Born in 1879 to a wealthy Buffalo family, Mabel Dodge Luhan earned fame for her friendships with American and European artists, writers and intellectuals and for her influential salons held in her Italian villa and Greenwich Village apartments. In 1917, weary of society and wary of a world steeped in war, she set down roots in remote Taos, New Mexico, then publicized the tiny town's inspirational beauty to the world, drawing a steady stream of significant guests to her adobe estate, including artist Georgia O'Keeffe, poet Robinson Jeffers, and authors D.H. Lawrence and Willa Cather. Luhan could be difficult, complex and often cruel, yet she was also generous and supportive, establishing a solid reputation as a patron of the arts and as an author of widely read autobiographies. She died in Taos in 1962.

Chronicles the New York City neighborhood's role as a bohemian enclave that became the home of and transformed the lives of individuals who came to the neighborhood to pursue their individual artistic, personal, and political dreams.

"Lorenzo in Taos," is written loosely in the form of letters to and from D.H. Lawrence, Frieda Lawrence, Robinson Jeffers, and Luhan. The book is a highly personal and most informative account of an intense relationship with a great writer.

An influential New York salon host and perpetual seeker of meaning, Mabel Dodge entered psychoanalysis in 1916 with A.A. Brill, the first American psychoanalyst, continuing until she moved to New Mexico in December 1917. In Taos, she met Antonio Luhan, the Pueblo Indian who became her fourth husband in 1923, a radical union that forever altered her turbulent life. From the beginning of her analysis until 1944, Mabel wrote to Brill and he replied, yielding 122 letters. No other such extensive, elaborate written conversations exist between patient and analyst. This book presents a narrative organized around these letters, featuring the turmoil in Mabel's relationships with others, most notably D. H. Lawrence, as well as her extraordinarily candid memoirs, both published and unpublished, inspired by Brill's fierce insistence upon constructive outlets. In her correspondence, as in life, Mabel was despairing, insightful, insecure, and talented, reporting to Brill her emotional states, seeking his advice. With warmth and frankness, he offered opinions, affection, and interpretations.