| Didion & BabitzJoan Didion is revealed at last in this outrageously provocative and profoundly moving new work on the mutual attractions—and mutual antagonisms—of Didion and her fellow literary titan, Eve Babitz.
Could you write what you write if you weren’t so tiny, Joan? —Eve Babitz, in a letter to Joan Didion, 1972
Joan Didion, revealed at last…
Eve Babitz died on December 17, 2021. Found in the wrack, ruin, and filth of her apartment, a stack of boxes packed by her mother decades before. The boxes were pristine, the seals of duct tape unbroken. Inside, a lost world. This world turned for a certain number of years in the late sixties and early seventies, and centered on a two-story rental in a down-at-heel section of Hollywood. 7406 Franklin Avenue, a combination salon-hotbed-living end where writers and artists mixed with movie stars, rock ’n’ rollers, and drug trash.
7406 Franklin Avenue was the making of one great American writer: Joan Didion, a mystery behind her dark glasses and cool expression; an enigma inside her storied marriage to John Gregory Dunne, their union as tortured as it was enduring. 7406 Franklin Avenue was the breaking and then the remaking—and thus the true making—of another great American writer: Eve Babitz, goddaughter of Igor Stravinsky, nude of Marcel Duchamp, consort of Jim Morrison (among many, many others), a woman who burned so hot she finally almost burned herself alive. Didion and Babitz formed a complicated alliance, a friendship that went bad, amity turning to enmity.
Didion, in spite of her confessional style, is so little known or understood. She’s remained opaque, elusive. Until now.
With deftness and skill, journalist Lili Anolik uses Babitz, Babitz’s brilliance of observation, Babitz’s incisive intelligence, and, most of all, Babitz’s diary-like letters—letters found in those sealed boxes, letters so intimate you don’t read them so much as breathe them—as the key to unlocking Didion. | |
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| Hollywood's EveLos Angeles in the 1960s and 70s was the pop culture capital of the world—a movie factory, a music factory, a dream factory. Eve Babitz was the ultimate factory girl, a pure product of LA.
The goddaughter of Igor Stravinsky and a graduate of Hollywood High, Babitz, age twenty, posed for a photograph with French artist Marcel Duchamp in 1963. They were seated at a chess board, deep in a game. She was naked; he was not. The picture, cheesecake with a Dadaist twist, made her an instant icon of art and sex. She spent the rest of the decade on the Sunset Strip, rocking and rolling, and honing her notoriety. There were the album covers she designed: for Buffalo Springfield and the Byrds, to name but a few. There were the men she seduced: Jim Morrison, Ed Ruscha, Harrison Ford, to name but a very few.
Then, at nearly thirty, her It girl days numbered, Babitz was discovered—as a writer—by Joan Didion. She would go on to produce seven books, usually billed as novels or short story collections, always autobiographies and confessionals. Her prose achieved that American ideal: art that stayed loose, maintained its cool; art so sheerly enjoyable as to be mistaken for simple entertainment. Yet somehow the world wasn’t paying attention. Babitz languished.
It was almost twenty years after her last book was published, and only a few years before her death in 2021 that Babitz became a literary star, recognized as not just an essential L.A. writer, but the essential. This late-blooming vogue bloomed, in large part, because of a magazine profile by Lili Anolik, who, in 2010, began obsessively pursuing Babitz, a recluse since burning herself up in a fire in the 90s.
Anolik’s elegant and provocative book is equal parts biography and detective story. It is also on dangerously intimate terms with its subject: artist, writer, muse, and one-woman zeitgeist, Eve Babitz. | |
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| Dark RoomsThe Secret History meets Sharp Objects in this stunning debut about murder and glamour set in the ambiguous and claustrophobic world of an exclusive New England prep school.
Death sets the plot in motion: the murder of Nica Baker, beautiful, wild, enigmatic, and only sixteen. The crime is solved, and quickly—a lonely classmate, unrequited love, a suicide note confession—but memory and instinct won’t allow Nica’s older sister, Grace, to accept the case as closed.
Dropping out of college and living at home, working at the moneyed and progressive private high school in Hartford, Connecticut, from which she recently graduated, Grace becomes increasingly obsessed with identifying and punishing the real killer.
Compulsively readable, Lili Anolik’s debut novel combines the verbal dexterity of Marisha Pessl’s Special Topic in Calamity Physics and the haunting atmospherics and hairpin plot twists of Megan Abbott’s Dare Me. | |
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