Theodora Keogh

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Theodora Keogh (June 30, 1919 – January 5, 2008) was an American novelist writing in the 1950s and 1960s.

1 Life
2 Keogh’s Writing Career
3 Bibliography of Keogh’s Novels
4 References

[edit] Life

Born Theodora Roosevelt in New York, Keogh was the granddaughter of president Theodore Roosevelt and the eldest of three daughters born to Archibald Bulloch Roosevelt, Theodore Roosevelt’s third son. Archie Roosevelt served in the Army in World War II and received the Silver Star. He later was chairman of Roosevelt & Cross, a Wall Street investment firm. Keogh’s mother was Grace Lockwood, daughter of Thomas Lockwood and Emmeline Stackpole of Boston. In her later life, Keogh played down her Roosevelt connections as she wanted her writings and her talents to be judged on their own merits.

Keogh was brought up on the East River and in the country at Cold Spring Harbor, New York near Oyster Bay. She attended the Chapin School and finished her education at Countess Montgelas’s in Munich, Germany. Keogh was briefly a debutante in New York and then began her professional life as a dancer in South America and in Canada. In 1945, she gave up dancing when she married the costumer, Tom Keogh. The couple moved to Paris, France where he designed for the theater and the ballet and worked as an illustrator for Vogue magazine from 1947 to 1951. Tom Keogh designed costumes for such movies as “The Pirate” (1948) with Judy Garland and “Daddy Long Legs” (1955) with Leslie Caron. The couple eventually divorced but stayed friends until Tom Keogh’s death in 1980.

Through her friendships in Paris, Theodora Keogh became connected with writers and editors for the Paris Review, including George Plimpton and Peter Matthiessen, co-founders of the Review; Scottish novelist Alexander Trocchi; the poet Christopher Logue; and Alabama poet and screenwriter Eugene Walter. After Paris, Keogh lived in Rome, Italy, and New York. Influenced by the Greta Garbo film “Anna Christie,” Keogh bought a tugboat, which she sailed in the Atlantic Ocean. Her interest in tugboats also led to her second marriage to Thomas (Tommy) O’Toole, a tugboat captain. After O’Toole left her, she lived in the Chelsea Hotel in New York, where she kept a margay, a South American tiger-cat similar to an ocelot, for company. One night, after Keogh had drunk too much and was asleep, the margay chewed one of Keogh’s ears. Keogh remained self-conscious of the injury, which she considered disfiguring to her face and natural beauty, and spent much time adapting her hairstyles to cover the missing ear.

In the 1970s, Keogh moved to North Carolina where she became friends with the wife of Arthur A. Rauchfuss, owner of a chemical plant. In 1979, after the Rauchfusses divorced, Keogh married Arthur, who died in 1989. Keogh lived in North Carolina until her death in 2008. She spent her final years in a house with nineteen acres on which she kept cats and chickens, until she gave up on keeping chickens because they were being eaten by coyotes.

[edit] Keogh’s Writing Career

Keogh wrote nine novels during the period of 1950 to 1962, at which time she gave up writing completely. Her novels tended to focus on characters with psychological conflicts and often dark sides to their personalities. In this regard, Keogh’s themes are similar to those of novelist Patricia Highsmith, most noted for “Strangers on a Train” and “The Talented Mr. Ripley.” Like Highsmith, Keogh created characters who seemed quite normal on the surface and in relation to the social conventions of their day, but who had another side to their lives and their identities.

Keogh’s works explored such dark areas and themes as rape, incest, double lives, and a doctor’s psychological and emotional fascination with a child criminal. Keogh’s novels were also noteworthy for exploring gay and lesbian themes, which were daring topics for the era in which she was writing. Such daring themes brought Keogh a measure of notoriety in her day.

Keogh’s novels were largely neglected after the 1960s but were rediscovered and reissued by Olympia Press during 2002-2007. The attention to her work after about thirty to forty years of dormancy brought both surprise and delight to Keogh in the final years of her life.

Keogh’s works were reprinted primarily for three reasons. First, Keogh’s style is very modern and represents a transition from Romanticism to modernism and postmodernism that mirrors not only writers like Highsmith but also Raymond Chandler and Dashiell Hammett. Second, Keogh is admired for her exploration of psychological issues and in thus creating complex characters who often present one personality to the world while having a secret and immoral life that is in contradiction. Explorations of the tensions between the socially accepted and the inwardly rebellious or evil side of the same person’s psyche have made Keogh’s novels of greater interest. Third, Keogh is admired for her explorations of lesbian and gay themes, and this approach has made her popular as one of the writers, like Ann Bannon, Marijane Meaker, and Doris Grumbach who opened post-World War II American fiction to explorations of homosexuality. Given Keogh’s handling of these themes in often lurid detail also made her popular as one of the early writers of lesbian pulp fiction.