Harlor was the pseudonym of Jeanne-Fernande-Clothilde-Désirée Perrot ( 1871-1970). 1 She grew up in a comfortable and well-educated middle‐ class family. Her mother, Amélie Hammer (née de Bettignies), had been an early feminist, attracted to the women's movement in the 1870s by Léon Richer. Amélie Hammer became the vice president of Richer's LFDF in 1882, and she later served as the president of Lydie Martial's moderate feminist society, the Union fraternelle des femmes (UFF), whose members included Nelly Roussel. Harlor's stepfather was a noted violist and composer, Richard Hammer; she prepared for a musical career under his tutelage and was a noted pianist in her youth.
At age twenty-six, however, Harlor decided on a career as a writer. She began in journalism, joining the staff of La Fronde when it was founded in 1897 by her lifelong friend Marguerite Durand. 2 She subsequently wrote for an enormous range of publications, including Maria Martin's militant Le Journal des femmes, Jane Misme's moderate La Française, Le Figaro, La Revue socialiste, La Grande revue, La Revue d'art dramatique, La Revue de Paris, La Gazette des beaux-arts, Le Mercure de France, and Le Larousse illustré. Harlor also produced a number of novels, including Tu es femme, LesArdents, and Arielle, fille des champs, these works won her the Grand Prix George Sand in 1930.
At La Fronde, Harlor became increasingly active in the feminist movement, and she participated in the women's rights congresses of 1900. The Congrès des oeuvres et institutions féminines led her to join the Conseil national des femmes françaises (CNFF), which resulted from its deliberations. At the