She also worked to find a publisher for Brooks's memoirs and to place her paintings in galleries. In the late 1960s Brooks became increasingly reclusive and paranoid; she sank into a depression and refused to see the doctors Barney sent. Bitter at Lahovary's presence during their last years, which she had hoped they would spend exclusively together, she finally broke off contact with Barney. Barney continued to write to her, but received no replies. Brooks died in December 1970, and Barney on February 2, 1972 of heart failure. She is buried at Passy Cemetery, Paris, Île-de-France, France. By the end of Natalie Barney's life her work had been largely forgotten. In 1979, Barney was honored with a place setting in Judy Chicago's feminist work of art "The Dinner Party". In the 1980s Barney began to be recognized for what Karla Jay calls an "almost uncanny anticipation" of the concerns of later feminist writers. English translations of some of her memoirs, essays, and epigrams appeared in 1992, but most of her plays and poetry are still untranslated. Her indirect influence on literature, through her salon and her many literary friendships, can be seen in the number of writers who have addressed or portrayed her in their works. "Claudine S'en Va" ("Claudine and Annie", 1903) by Colette contains a brief appearance by Barney as "Miss Flossie," echoing the nickname she had earlier been given in de Pougy's novel "Idylle Saphique". Renée Vivien wrote many poems about her, as well as a Symbolist novel, "Une Femme M'Apparut" ("A Woman Appeared to Me", 1904), in which she is described as having "eyes ... as sharp and blue as a blade... The charm of peril emanated from her and drew me inexorably." Remy de Gourmont addressed her in his "Letters to the Amazon", and Truman Capote mentioned her in his last, unfinished novel "". She also appeared in two later novels by writers who never met her: Francesco Rapazzini's "Un Soir chez l'Amazone" ("An Evening with the Amazon", 2004) is a historical novel about Barney's salon, while Anna Livia's "Minimax" (1991) portrays both her and Renee Vivien as still-living vampires. According to Lillian Faderman, "There was probably no lesbian in the four decades between 1928 and the late 1960s capable of reading English or any of the eleven languages into which the book was translated who was unfamiliar with "The Well of Loneliness"."