Looking for Mabel Normand

Madcap Mabel Normand

press to link to lists of Mabel books


to be given to Staten Island









A few of the books in the Looking for Mabel Collection

Back to the Woods (Goldwyn 1918)


LIBRARY in 1930

Mabel Normand’s Library at Probate


*Sent to family home on Staten Island 1930



The Seven Lively Arts, by Gilvers Seldes.

Familiar Quotations, John Bartlett.

When a Man's a Man, Harold Bell Wright.

The Home Book of Verse, Stevenson.

Nell Gwyn, Lewis Melville.

The Coming of Gabriel, Geo. Moore.

The Outline of History, H.G. Wells.

Alien Souls.

The Trail of the Beast.

111 Books, Abdullah Achmed.

A Strange Story.

Night and Morning, Edward Bulwer Lytton.

The Caxtons, vol. I and II, Bulwer.

Memoirs of Fr.


Kai Lung's Golden Hour, Ernest Bramah (boxed set, 2 volumes).

Rival Sultans, H. Noel Williams.

The Deluge, Hendryk Sienkiewicz.

Out of the Silent North, Drago.


Poems, Esays and Letters, Joyce Kilmer.

Lord Northcliffe, A Memoir, Max Pemberton.

Life of Benvenuto Cellini, (autobiography). (vol 1 & vol 11)

Intimate Letters of James Gibbons Huneker.

The Puppet Show of Memory, Maurice Baring.

An American Tragedy, Dreiser.

Casanova's Homecoming, Arthur Schnitzler.

The Storyteller's Holiday, Geo. Moore.

Studies in Lietrature, Sir Arthur Quillar-Couch.

On the Art of Reading, Arthur Quillar-Couch.

Goethe's Faust. Mummer's Tale and Clio, Anatole France.

Cytherea, Joseph  Hergesheimer.

Painted Veils, James Huneker.(signed by Huneker, ed. 326/1200)

Memoirs of My Dead Life, George Moore.

Heloise and Abelard, George Moore.

Droll Stories, Balzac.

Sister Beatrice, Maeterlinck.

Adriane and Barbe Bleue, Maeterlinck.

Writings of Oscar Wilde. (A House of Pomegranates, etc)

The Kerith Brook, George Moore.

Vanity Fair (first edition), Thackery.

Poetica Erotica, Verse, T. R. Smith.

The Decameron, Boccaccio.

Sea Tracks of the Speejacks, Dale Collins.

The Famous Tragedy of the Queen of Cornwall, Thomas Hardy.

Hands Around, Arthrur Schnitzler.

Moods, by Th. Dreiser.

Pierra Loti, D'Auvergne.

A Lost Lady, Willa Cather.

Confessions of a Child of the Century, De Musset.

Venus in Furs, Leopold Von Sacher-Masech.

The Cathedral, Hugh Walpole.

Memoirs of a Midget, by Walter de La Mare.

The Road of Ambition, Elaine Sterne.

The World's Ambition, by Wasserman.

Goethe's Wilhelm Meister.

A Night in Luxembourg, de Gourmont.

The Horses of Diomede, de Gourmont.

The Romance of Leonardo Da Vinci, Merejkow.

The Man with the Clubfoot, Valentine Williams.

The Return of Clubfoot, Valentine Williams.

Memoirs of my Life, Sarah Bernhardt.

The Christian, Hall Caine.

Jurgen, James Branch Cabell.

The Beloved Woman, Kathleen Norris.

Harriett and the Piper, Kathleen Norris.

Rubaiyat of Omar Khayam, trans. Edw. Fitzgerald.

Brass, Chas. Norris.

The Mystic Warrior. L'Album de la Guerre, 1914-1919.

Barber's South Wales.


OTHER BOOKS, listed separately:

The Story of Nell Gwynn, by Cunningham.

Terribly Intimate Portraits, Noel Coward.

The Days I Knew, Lillie Langtry.

The Blind Bow Boy, Carl Van Vechten.

Familiar Quotations, Bartlett.

(Poems), Mrs. (E.B.) Browning.

War Verse, Frank Foxcroft.

De Profundis, Oscar Wilde.

Some Observations, Dr. Frank Crane.

Gentleman Prefer Blondes, Anita Loos.

The Life Story of an Ugly Duckling.

Poetica Erotica, T. R. Smith.

My Life in Art, Constantine Stanislavsky.

Struggles and Triumphs, (Life of P. T. Barnum).

Continental Stage Craft, Kenneth MacGowan, Robt. E. Jones.

The Republic, The Statesman,  Plato.

The Sufistic Quotations of Omar Khyam.

Imrprovement of the Understanding, Spinoza.

Classical Conversations, Bert L. Taylor.

Portrait of Mr. W.H., Oscar Wilde



Young Archimedes, Aldous Huxley.

Crome Yellow, Aldous Huxley.

On tht Margin, A. Huxley.

Limbo, A. Huxley.

Mortal Coils, A. Huxley.

Antic Hay, Aldous Huxley.

Two or Three Graces, Aldous Huxley.

The House of Dreams Come True, Pedler.

The Lamp of Fate, Pedlar.

The Barbarian Lover, Pedlar.

Red Ashes, Pedlar.

The Hermit of Far End, Pedlar.

Waves of Destiny,  Pedlar.

The Splendid Folly, Pedler.

The Comedienne, Reymont.

Belonging, Wardsley.

Almond Blossoms, Wardsley.

The Picture of Dorian Gray, Oscar Wilde.

The Flower Beneath the Foot, Ronald Firbank.

Bella Donna, Robert Hichens.

The Fruitful Vine, Robert Hichens.

Smoke Bites and Other Stories,  Robert Hichens.

The Spirit of the Times,  Robert Hichens.

The Man Nobody Knows, Bruce Barton.

Laughter, Henry Bergson.

Rudyard Kipling's Verse, 1885-1918.

The Heretic of Soana, Gerhart Hauptmann.

The Wandering Jew, Temple Thurston.

A Soul's Faring, Muriel Strode.

Wedlock, Jacob Tasserman.

Robin, Burnett.

The Head of the House of Coombe, Burnett.

Others for 1919, Alfred Kreymborg.

Tragedies of Sex, Frank Wederkind.

Love Days.  

Peculiar Poems, J. Joyce.

4 Volumes of O. Henry Memorial Award Prize Stories.

The Great Modern English Stories, O'Brien.

Best Short Stories. Adventures - Best Stories of 1920.


*These are only books sent to New York. Mabel loved to read atlases and had a number

of beautiful bond maps where she planned imagery trips as she sat in bed at Pottenger’s Sanitarlun.

None of these are on this list. 



Found in New York book store with Mabel's name in them

  1. Pirre Loti (The Romance of a Great Writer) Edmund B. D'Auvergne
  2. The Lost Art, (Dorothy van Doren, ed.)
  3. Sir Francis Seymour Haden (Modern Masters of Etching, no 11) 
  4. POEMS IN PRAISE OF PRACTICALLY NOTHING, Sam Hoffenstein (signed by Hoffenstein)
  5. B.I.BARNATO, Harry Raymond (inscription reads: "To my darling Mabel, the dearest child in the world, who I shall always love and worship and whose love I shall always cherish more than anything in the world...Woolfie? Woolfin? ..I can't make out name)




The books high lghited in light blue are in a collection in New York. These are the ones that will be given to Staten Island 





Reading Mabel Normand's Library

by Mark Lynn Anderson


An investigation of popular accounts of Mabel Normand's library considers the convergence of the intellectual and the star. Normand's persona as a working-class woman and movie star enabled her claim to new forms of cultural authority in the 1910s, in turn rapidly attenuated by the implementation of regulatory discourses about motion pictures and other products of mass culture, making those products subject to various forms of verification and institutional certification.







Mark Lynn Anderson is Assistant Professor in Film Studies at the University of Pittsburgh.  Interested in the roles of media institutions in American society between the two World Wars, he has written essays on celebrity scandal, film censorship and early film education.  His book, Twilight of the Idols: Hollywood and the Human Sciences in the 1920s, is forthcoming from University of California Press.  Contact: E-mail: andersml@pitt.edu








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Film History 

Try to link to http://muse.uq.edu.au/journals/film_history/toc/fih18.2.html.

Film History:

An International Journal

Volume 18, Number 2, 2006


    Hastie, Amelie.
    Stamp, Shelley, 1963-
  • Introduction: Women and the Silent Screen: Cultural and Historical Practices
    [Access article in HTML] [Access article in PDF]
    Morey, Anne.
  • Elinor Glyn as Hollywood Labourer
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    • Glyn, Elinor, 1864-1943.
    • Women in the motion picture industry -- History.
      Writer and taste-maker Elinor Glyn performed a kind of paradoxical labour to define her authorial signature well beyond that traditionally accorded screenwriters. Thus Glyn cultivated power outside the role of author through performance, supervision of production if not direction, commentary about Hollywood, and in some cases control over casting or the moulding of the performances of others. But these other areas of authority themselves arise from the value of the Glyn narrative as something highly recognizable during the 1920s.
    Stamp, Shelley, 1963-
  • Presenting The Smalleys, 'Collaborators in Authorship and Direction'
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    • Weber, Lois, 1883-1939 -- In mass media.
    • Smalley, Phillips, 1875-1939 -- In mass media.
    • Women in the motion picture industry -- History.
    • Sex role in mass media -- History.
      This study analyses the discourse surrounding celebrity portraits of Lois Weber and her husband and collaborator, Phillips Smalley, arguing that metaphors of marital harmony that sought to explain the couple's creative partnership ultimately could not contain the challenges their working relationship presented to dominant models of gender relations. Significant though Weber's films were, the director's elevated reputation had as much to do with the kinds of pictures she made, as it did with the type of woman she presented herself to be – married, matronly, and decidedly middle-class.
    Kenaga, Heidi, 1960-
  • Making the 'Studio Girl': The Hollywood Studio Club and Industry Regulation of Female Labour
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    • Hollywood Studio Club -- History.
    • Central Casting Bureau -- History.
    • Women in the motion picture industry -- History.
    • Extras (Actors) -- Employment -- California -- Los Angeles -- History.
      An examination of the throngs of 'film-smitten girls' who arrived in early Hollywood in search of stardom, which demonstrates how the influx of single, transitory women to Los Angeles prompted early attempts to regulate not only female labour, but private conduct as well. The 'problem' of the 'extra girl' in Hollywood became not only an important labour issue but a key ideological concern as well, because it foregrounded how the industry's interests and economic power negotiated with civic, cultural, and social elites a 'proper place' for movies, especially the right role female spectators might play in relation to the cinema and the act of film consumption.
    Abel, Richard, 1941-
  • Fan Discourse in the Heartland: The Early 1910s
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    • Price, Gertrude M.
    • Journalism and motion pictures -- History.
    • Women in the motion picture industry -- Press coverage -- History.
      Through extensive research into local newspapers throughout the United States in the early 'teens, the author chronicles the work of little-known columnist Gertrude Price, demonstrating how she crafted an appeal to female movie fans while highlighting the powerful roles played by women in the early industry.
    Wasson, Haidee, 1970-
  • The Woman Film Critic: Newspapers, Cinema and Iris Barry
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    • Barry, Iris, 1895-
    • Women film critics.
    • Journalism and motion pictures -- History.
      Through the example of Iris Barry's film criticism, the author underlines the significant role that women played in articulating serious film culture. Barry's writing, argues Wasson, comprises a method by which to understand the ways in which gender has figured historically in questions of identifying and valuing a range of women's work and forms of cultural production that exist outside of filmmaking per se, yet nonetheless shape ideas undergirding the meaning and significance of specific films, and of cinema in general.
    Burrows, Jon.
  • 'Melodrama of the Dear Old Kind': Sentimentalising British Action Heroines in the 1910s
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    • Motion pictures -- Great Britain -- History.
    • Melodrama in motion pictures.
    • Women in motion pictures.
    • Charlesworth, Violet -- In mass media.
    • MacBean, L. C., dir. Trapped by London sharks [film]
      This paper pays close attention to the serial and 'cinematic' narratives produced in the British press of the 'teens in order to display film's widening reach as a narrative mode mingling action, sentiment, and gender and to historicize debates about genre in film studies. Many filmmakers, publicists and journalists in the 1910s fully understood that melodrama was a radically hybrid form, yet they did not have the same semantic anxieties about juxtaposing multiple, non-hierarchical definitions of melodrama as later genre historians.
    Parchesky, Jennifer.
  • Women in the Driver's Seat: The Auto-Erotics of Early Women's Films
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    • Normand, Mabel, 1894-1930, dir. Mabel at the wheel [film]
    • Shipman, Nell, 1892-1970, dir. Something new [film]
    • Marion, Frances, 1888-1973, dir. Zander the great [film]
    • Women in motion pictures.
    • Automobiles in motion pictures.
      The trope of women's 'automobility' in three films centered around female drivers is examined in order to chart the changing fortunes of women's creative control in early Hollywood, looking in turn at Mabel Normand, Nell Shipman and Frances Marion. Whether behind the wheel or behind the camera, women's mastery of exciting new technologies offered a spectacular image of New Womanhood as both practical power and thrilling adventure.
    McBane, Barbara.
  • Imagining Sound in the Solax Films of Alice Guy Blaché: Canned Harmony (1912) and Burstop Holmes' Murder Case (1913)
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    • Guy, Alice, 1873-1968, dir. Canned harmony [film]
    • Guy, Alice, 1873-1968, dir. Burstop Holmes' murder case [film]
    • Sound in motion pictures.
    • Women in motion pictures.
      Alice Guy Blaché's onscreen depictions of sound prompt an enquiry into this suppressed realm of early cinema, which often figures marginalized social groups. Women's increased public presence and vocality and the suffrage debates are shown to be expressed obliquely in Guy Blaché's work, through extra-diegetic visual references and the imagination of sound.
    Szaloky, Melinda.
  • 'As You Desire Me': Reading 'The Divine Garbo' Through Movement, Silence and the Sublime
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    • Garbo, Greta, 1905-1990.
    • Motion pictures -- Aesthetics.
    • Women in motion pictures.
      Through her reading of Greta Garbo's star persona, the author interrogates the dominant theoretical paradigms that have been used to characterize female figures of the period, suggestively arguing how Garbo's ambiguity challenges these models.


  • Normand, Mabel, 1894-1930 -- Books and reading.
    • Normand, Mabel, 1894-1930 -- In mass media.
    • Women in the motion picture industry -- History.
    • Motion picture industry -- Social aspects -- United States.
      An investigation of popular accounts of Mabel Normand's library considers the convergence of the intellectual and the star. Normand's persona as a working-class woman and movie star enabled her claim to new forms of cultural authority in the 1910s, in turn rapidly attenuated by the implementation of regulatory discourses about motion pictures and other products of mass culture, making those products subject to various forms of verification and institutional certification.
    Hastie, Amelie.
  • The Miscellany of Film History
    [Access article in HTML] [Access article in PDF]
    • Motion pictures -- History -- Sources.
    • Women in the motion picture industry -- History -- Sources.
      The miscellany of film history – from scrapbooks to marginalia to cookbooks – may lead towards a more explicit understanding of the collaborative work that goes on between the historian and the subject of her analysis. Arguing that the "miscellany" is a kind of methodological model, The author argues that women's histories are inevitably dispersed across genres, forms, spaces. Drawing from these various forms and spaces, our scholarly work is based on miscellaneous acts of collection and on the collections of miscellany.







more books from Mabel Normand's Library