The Unconventional Love of Fanny and Robert Stevenson

A dual portrait painted by John Singer Sargent in 1885 captures the peculiar dynamics of the marriage between Fanny and Robert Louis Stevenson. The painting presents Louis, described by fellow writer Henry Adams as resembling an "insane stork," gazing beyond the canvas, while Fanny, draped in a golden Indian sari, appears almost as an afterthought, seated barefoot and shrouded. This portrayal has been interpreted as an attempt to diminish Fanny's presence, a sentiment she was acutely aware of, given the admiration her husband received. In her book, *A Wilder Shore*, author Peri seeks to reclaim Fanny's narrative, aiming for more than just a feminist recovery of a largely overlooked figure. The work inspires readers to revisit Stevenson’s literary contributions, including *Treasure Island* and *The Strange Case of Dr. Jekyll and Mr. Hyde*, while also encouraging a deeper understanding of Fanny's life and experiences. Peri's writing evokes a desire to connect with Fanny, suggesting a need for guidance on living fearlessly as a woman. The book opens with a vivid scene from 1875, where Fanny, alongside her children and governess, embarks on a journey from San Francisco to Belgium, ultimately leading her to the ailing Stevenson. This moment sets the stage for their unconventional relationship, characterized by role reversals. Peri highlights how Louis, despite his frailty, relied on Fanny not only as his most trusted critic but also as the one to manage their household and provide care, illustrating the complexities of their partnership.