Bedouins Mary Garden, Debussy, Chopin or the Circus, Botticelli, Poe, Brahmsody, Anatole France, Mirbeau, Caruso on Wheels, Calico Cats, the Artistic Temperament; Idols and Ambergris, with the Supreme Sin, Grindstones, a Masque of Music, and the Vision Malefic; With Various Portraits of Mary Garden in Operatic Costume

A reflective work combining elements of biography and literary criticism, likely written in the early 20th century. The focal point of this text appears to be the operatic soprano Mary Garden, examining her artistic genius and versatility as a performer while exploring broader themes of artistry, identity, and the emotional landscape of artists. Huneker's prose hints at a deep admiration for Garden's multifaceted roles that encompass a range of historical and literary figures, positioning her as a modern archetype of the “Superwoman.” The opening of ''Bedouins'' introduces Mary Garden as a prodigious talent whose complex personality and artistic capabilities are dissected through anecdotes and critical observations. Huneker describes a childhood incident emphasizing her precociousness and hints at an internal struggle representative of ''multiple personalities,'' reflecting her intricate artistic temperament. As he praises her mastery in embodying various roles, from Cleopatra to Mélisande, Huneker intertwines discussions of modern operatic performance with his own philosophical musings on the nature of artistry, identity, and human experience—a theme that will likely unfold throughout the rest of the book.