Evelyn McHale - Most Beautiful Suicide

From Iconic Photos:

The photo was taken on May Day, 1947 at the bottom of the Empire State Building. Photography student, Richard Wiles, was across the street, and heard a loud crash. He rushed to the scene and took the photo four minutes after one Evelyn McHale jumped off from the Observation Deck. Like the movie said, the picture is sad, but it is simultaneously serene. It isn’t full of gore, and Evelyn looked as if she was sleeping. Her calm repose contrasted greatly from the grotesque wreckage of a bier she herself created beneath her.

Life magazine wrote at the time: “On May Day, just after leaving her fiancé, 23-year-old Evelyn McHale wrote a note. ‘He is much better off without me … I wouldn’t make a good wife for anybody,’ … Then she crossed it out. She went to the observation platform of the Empire State Building. Through the mist she gazed at the street, 86 floors below. Then she jumped. In her desperate determination she leaped clear of the setbacks and hit a United Nations limousine parked at the curb.”

From KOTTE dot Org:

On May 1, 1947, Evelyn McHale leapt to her death from the observation deck of the Empire State Building. Photographer Robert Wiles took a photo of McHale a few minutes after her death.

“I don’t want anyone in or out of my family to see any part of me. Could you destroy my body by cremation? I beg of you and my family – don’t have any service for me or remembrance for me. My fiance asked me to marry him in June. I don’t think I would make a good wife for anybody. He is much better off without me. Tell my father, I have too many of my mother’s tendencies.”

Read more from stories from the Empire State Building Observation Desk.

Mistresses: A History of the Other Woman

From the Telegraph:

The role of the mistress is as old as love and matrimony, but harder to define than either. Elizabeth Abbott, a Canadian academic whose previous books include a history of celibacy, has taken up the challenge in Mistresses: a History of the Other Woman.

Abbott writes that it was while researching her book on celibacy that “I came to realise that mistressdom is, in fact, an institution parallel and complementary to marriage. Though many people assume that adultery undermines marriage,” she notes, “many others believe that, paradoxically, it shores marriage up.” The material, in short, could hardly be richer or more complex.

In 13 chapters, beginning with illicit love in the ancient world and concluding with the changing role of the mistress after the sexual revolution of the Sixties, Abbott considers the careers of mistresses in a variety of different eras and cultures.

Secret Lives of the Great Artists' Lovers

From the Telegraph:

For as long as man has painted, he (and it usually is a he) has painted his lovers. Look at any of the great works of Western art and, chances are, you will find a mistress, girlfriend, wife or prostitute centre stage.

They may not announce themselves as such, going under the discreet title of Woman Sewing, Girls Bathing or simply Repose. But they’re there all right, these soul mates and play mates, lighting up the canvas with a particular kind of intimacy.

As all these examples suggest, a cloud of suspicion hung over male artists and their choice of female subjects. Painting a wife or sister might seem the obvious way of sidestepping adverse comment, but the problem was that at that time the act of putting a respectable woman on view tarnished her reputation. So there was no choice but to go looking for women who had nothing to lose and perhaps something to gain – the affection of an interesting man, the warmth of the studio, a meal – by becoming public property.