About the book, Divine Lola: A True Story of Scandal and Celebrity
- Publisher: Amazon Crossing (September 1, 2021)
- Hardcover: 448 pages
An enthralling biography about one of the most intriguing women of the Victorian age: the first self-invented international social celebrity.
Lola Montez was one of the most celebrated and notorious women of the nineteenth century. A raven-haired Andalusian who performed her scandalous “Spider Dance” in the greatest performance halls across Europe, she dazzled and beguiled all who met her with her astonishing beauty, sexuality, and shocking disregard for propriety. But Lola was an impostor, a self-invention. Born Eliza Gilbert, the beautiful Irish wild child escaped a stifling marriage and reimagined herself as Lola the Sevillian flamenco dancer and noblewoman, choosing a life of adventure, fame, sex, and scandal rather than submitting to the strictures of her era.
Lola cast her spell on the European aristocracy and the most famous intellectuals and artists of the time, including Alexandre Dumas, Franz Liszt, and George Sand, and became the obsession of King Ludwig I of Bavaria. She then set out for the New World, arriving in San Francisco at the height of the gold rush, where she lived like a pioneer and performed for rowdy miners before making her way to New York. There, her inevitable downfall was every bit as dramatic as her rise. Yet there was one final reinvention to come for the most defiant woman of the Victorian age—a woman known as a “savage beauty” who was idolized, romanticized, vilified, truly known by no one, and a century ahead of her time.
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About the author, Cristina Morato
Born in Barcelona in 1961, Cristina Morató is a journalist, reporter, and author dedicated to writing about the lives of great women innovators and explorers that history has overlooked. Her research, tracing the footsteps of these remarkable women, has led her to travel to more than forty countries and has resulted in eight biographies: Viajeras intrépidas y aventureras(Intrepid and Adventurous Women Travelers); Las Reinas de África (African Queens); Las Damas de Oriente (Ladies of the East); Cautiva en Arabia (Arabian Captive); Divas rebeldes (Rebel Divas); Reinas malditas (Tragic Queens); Diosas de Hollywood (Hollywood Goddesses); and Divina Lola (Divine Lola), Cristina’s first to be translated into English. She is a founding member and the current vice president of the Spanish Geographical Society and belongs to the Royal Geographic Society of London.
For more information visit www.cristinamorato.com/home-2.
About the translator, Andrea Rosenberg
Andrea Rosenberg is a translator from Spanish and Portuguese. Her full-length translations include novels, graphic narratives, and nonfiction, including works by Manuel Vilas, Tomás González, Inês Pedrosa, Aura Xilonen, Juan Gómez Bárcena, Paco Roca, and Marcelo D’Salete. Two of her translations have won Eisner Awards, and she has been the recipient of awards and grants from the Fulbright Program, the American Literary Translators Association, and the Banff International Literary Translation Centre.
Neither a true biography nor a true work of fiction, but a hybrid of both, Cristina Morato’s Divine Lola is an accessible story of a fascinating woman: Eliza “Lola” Gilbert is a larger-than-life character, worthy of a limited series on the streaming platform of your choice, with a veritable who’s who of friends and acquaintances. Sure, she was famous for her scandalous “spider” dance, but she touched a lot more lives than those who saw her perform.
What I liked about this book was that there was enough history to provide context without overwhelming the extrapolated dialogue. Balance is key, and Morato struck exactly the right one. She also used a fabulous literary device, opening the book after Lola has died, making the entire narrative a flashback, in a sense, thus showing how much impact the woman really had.
Because this is a translation, it’s hard to know if the flow of the language is the work of Andrea Rosenberg, the translator, or the author herself, but either way, it’s an easy read, contemporary enough to be accessible, and yet still “period” enough to not be jarring.
I’ll definitely be finishing this book, and recommend it as a solid entry into the creative biography genre.
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