Abstract This article explores the tumultuous 1920s, a decade of vibrant urban culture that witnessed the birth of a new female figure, the flapper. The young flappers, who were products of fin-de-siècle urban modernity, were caught in-between conventional backgrounds and eccentric self-definitions, in the liminal twilight zone of their indeterminate desires. In Edith Wharton’s Twilight Sleep (1927) the flappers Nona Manford and Lita Cliffe Wyant are tied to the bodily gratifications of dancing, sports, alcohol, and sex, a cause for cultural anxiety, particularly when nonheteronormative. The homoerotic relationship between Nona and Lita becomes exposed through Nona’s gaze resting on Lita and her sensual body. Wharton’s flappers immerse themselves in sensory experiences that just like those of others are “permeated with social values,” according to David Howes. The way Nona and Lita engage their senses and explore sensations reflect their social status as their lives move on, extravagantly, with the fast beat of jazz, which in Nona’s case is later contrasted by immobility as she lies in her bed physically and emotionally wounded. In the end, Nona and Lita are pressured toward conventionality, but before then, they are most alive when engaged in the thrills of twilight that send tremors through their bodies.