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In a dazzling tapestry of voices--family, friends, lovers, rivals--the entire meteoric trajectory of Edie Sedgwick's life is brilliantly captured. And so is the Pop Art world of the '60s: the sex, drugs, fashion, music--the mad rush for pleasure and fame. All glitter and flash on the outside, it was hollow and desperate within--like Edie herself, and like her mentor, Andy Warhol. Alternately mesmerizing, tragic, and horrifying, this book shattered many myths about the '60s experience in America.
"This is the book of the Sixties that we have been waiting for."--Norman Mailer
"Through a kaleidoscope of seemingly fragmented voices, patterns form, giving brilliant definition to the very American tragedy of Edie Sedgwick, a woman...not likely to be forgotten after this haunting portrait."--Publishers Weekly
"Extraordinary...a fascinating narrative that is both meticulously reported and expertly orchestrated."--The New York Times
"An exceptionally seductive biography.... You can't put it down.... It has novelistic excitement."--Los Angeles Times Book Review
"What makes this book so unusual, unique almost, is the picture it paints of the New York counterculture. No one has ever done it better."--The Atlanta Journal & Constitution
Jean Stein has worked as an editor for a number of magazines, including The Paris Review and Esquire, when it was under the direction of the near-legendary magazine editor Clay Felker. In the 1960s, she moved to Washington, D.C. where, through her husband, attorney William Vanden Heuvel, she became interested in the political career of Robert F. Kennedy. Following his assassination, she completed her first book, an oral history of his life entitled American Journey. In 1990, she became the editor of the literary journal Grand Street. She has two daughters: Wendy, an actress, and Katrina, the editor-in-chief of The Nation.
She was born into a wealthy old family that had a history of instability. Her father, also breathtakingly beautiful, had crushing psychological problems. Two of her brothers committed suicide. Her mother was ineffectual with her large brood. She was raised on an isolated ranch with her seven siblings with almost no contact with the outside world. When she hit Cambridge at 18, she was pathetically ill equipped to be in the larger world.
I couldn't agree more that she found herself in the midst of horribly decadent people. Andy Warhol gets a particularly bad rap in this book, but to me, he was no better nor worse than his hangers-on, just a shade more self-absorbed. What really saddened me was that I don't think it really mattered who Edie took up with. She was destined to spin out of control. She had no focus, no inner strength, and was dangerously self-centered and delusionary.
"Edie" is compelling reading whether or not you have experienced the '60's. It is good to keep in mind that Edie herself and the contributors to the book all were a part of a very small stratum that whistled through this confusing decade. They were no more representative of the rank and file than Emmerin is representative of this decade.
Such a lovely child, such a terrible waste.
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