The marriage, as we learn through Murray, does not last very long and is further torpedoed by Eve's daughter Sylphid
, whose incessant attacks on Ira culminate in her success in persuading her mother to have an abortion.
Eve's spoiled 23-year-old daughter Sylphid hates Ira and bullies her mother into having an abortion.
The book is a wretched piece of hackwork and political propaganda, filled with lies, portraying Ira as a calculating monster and spy for the Russians, and Eve and Sylphid as heroic Americans protecting democracy.
It further takes as its central focus the poetic works for children by Irish novelist, poet, and biographer, Alicia Lefanu (1791-1867), which were published with John Harris and William and Mary Jane Godwin's Juvenile Library respectively: The Flowers; Or, the Sylphid Queen: A Fairy Tale in Verse (1809), and Rosara's Chain: or, the Choice of Life.
Eventually freed from her debilitating love-sickness, Almeria forms a much more equal and earnest relationship with the Sylphid King, Zelindor, and freely chooses to remain with him in the fairy realm and join him in his vocation as magic healer.
Evil Eve!--who used to be Chava Fromkin, a nice Jewish girl from Brooklyn, before she went Hollywood, cohabited with a gay actor who did icky things in the south of France, gave birth to an egregious girl-child (the harp-playing overeater Sylphid) and put on uppity English airs.
But her thralldom to the jealous Sylphid causes her to abort a baby Ira longs for, and her fury at his infidelities with a vulgar Polish masseuse will lead her to publish a ghostwritten tell-all, likewise called I Married a Communist, in which she fingers her own "Machiavellian" husband as the "ringleader of the underground Communist espionage unit committed to controlling American radio." Iron Rinn, a blunt instrument, uses "the weapon of mass culture to tear down the American way of life."
(Mary Robinson as "The Sylphid" in Memoirs of the Late Mrs.
Looking to Walsingham and to Robinson's prolific output in the final months of her life--The Natural Daughter (1799), Letter to the Women of England (1799), The False Friend (1799), the "Sylphid" essays for the Morning Post (1799-1800), and Lyrical Tales (1800)--commentators like Claire Brock, Sharon M.
To appreciate fully the conflicted ground of Robinson's self-authorization in the Memoirs, however, we need to look beyond the self that she constructs in the autobiographical narrative of Volumes 1 and 2 to the invisible and protean persona that she adopts in The Sylphid
, a group of fourteen editorials collected in Volume 3.
(28.) For more on Robinson's revisionary practice, see Luther; Sharon Setzer, "Mary Robinson's Sylphid
Self: The End of Feminine Self-Fashioning," Philological Quarterly 75.4 (Fall 1996): 501-20; and Daniel Robinson, "From `Mingled Measure' to `Ecstatic Measures': Mary Robinson's Poetic Reading of Kubla Khan," Wordsworth Circle 26.1 (Winter 1995): 4-7.