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Intertextuality is basic to Sylvia Townsend Warner’s narratives: she is a formidably learned, effortlessly allusive writer. From her slyly absurd references to Wordsworth in the lush tropical setting of Mr. Fortune’s Maggot (1927) through her retelling of Apuleius’s Cupid and Psyche to produce an allegory of class oppression in her first historical novel, The True Heart (1929), to the densely woven intertextuality of Summer Will Show (1936), she uses allusion both to ground her apparently implausible narratives within literary history and to question and parody the politics, ‘history’, and narratology of her predecessors. It is appropriate that in this novel, where the lesbian romance in Paris is precisely coterminous with the 1848 revolution, many of the allusions are to nineteenth-century French literary history. Warner’s ‘unwriting’ of Flaubert’s L’Éducation Sentimentale has received a great deal of attention since it was first noted by Terry Castle in her 1990 theorisation of the lesbian triangular plot. Later writers, in contrast, have emphasised the allusion’s Marxist significance. Quite another fictional genealogy seems more to the point, however, when we consider Warner’s characterisation of Minna Lemuel, the revolutionary Jewish story-teller: the representation, usually by women writers, of the powerful, sexually active, sometimes evil and sometimes doomed femme artiste, as in Madame de Stael’s Corinne, Charlotte Brontë’s Villette, George Sand’s Consuelo, and Colette’s La Seconde. It is now abundantly clear that the intertextuality of Summer Will Show demonstrates that the novel is narratologically, politically, and sexually revolutionary.