On the Shelf
‘Didion & Babitz’
By Lili AnolikScribner: $30, 352 pagesIf you purchase books linked on our website, The Instances might earn a fee from Bookshop.org, whose charges help unbiased bookstores.
It occurs possibly as soon as in a author’s life, if it occurs in any respect: A story path is established, after which with out warning, it swerves in a brand new path that looks like a present. That is how Lili Anolik discovered herself digging by way of the mildewed trash pile of Eve Babitz’s private results after her demise in late 2021. The creator and contributing editor to Self-importance Truthful was trying to find materials so as to add to a brand new version of her Babitz biography, “Hollywood’s Eve,” however wound up sniffing out a wholly new undertaking.
Babitz’s sister, Mirandi, had summoned Anolik to Eve’s house, informing her that, tucked deep right into a corridor closet, there existed numerous sealed containers. “I opened one,” Mirandi informed Anolik through a FaceTime name. “You’re not going to believe what’s in it. Letters. Lots of letters.”
Thus started Anolik’s journey again into Babitz’s previous through a big cache of correspondence that exposed, amongst different issues, her typically convivial, usually fraught relationship with Joan Didion when the author, who was 9 years older, was the queen bee of L.A.’s lit scene and a key determine in Babitz’s artistic life.
Lili Anolik, creator of “Didion & Babitz.”
( From Lili Anolik )
After studying the letters, Anolik ditched her plans to revise “Hollywood’s Eve,” pivoting as a substitute to put in writing “Didion & Babitz,” an important chronicle of a literary friendship. It additionally serves as an MRI into the inside lifetime of Didion, who has been considerably of a frustratingly inscrutable presence.
“Didion & Babitz” opens a brand new aperture. Babitz, the daughter of a classical violinist, realized concerning the transformative energy of artwork and life at an early age. And she or he discovered herself in the best place on the proper time: Hollywood on the daybreak of the ’60s, “with its appeal to the irrational and the unreal,” writes Anolik, “its provocation of desire and volatility; its worship of sex and spectacle.” There, Babitz discovered the perfect milieu for her free-form libertinism, sharing pitchers of Schlitz at Barney’s Beanery with the emergent artists of the last decade — Ed Ruscha, Billy Al Bengston, Larry Bell — and famously posed nude whereas enjoying chess with Marcel Duchamp at a neighborhood artwork museum in 1963.
Earl McGrath, a cultural gadabout who had first encountered Babitz sharing a mattress with the street supervisor for the Mamas and the Papas, introduced her to Didion’s Franklin Avenue dwelling in 1967 for one among her legendary events. A friendship between the 2 girls was solid; Didion, who would publish “Slouching Toward Bethlehem” the next yr, had discovered an emissary into the darker corners of town’s cultural life.
The place Didion was ordered, Babitz was an improviser, an artist by inclination quite than design. In accordance with Anolik, Didion needed to be well-known whereas Babitz needed to suck the marrow out of life. Didion’s work usually alluded to a rebellious previous, however Babitz was the true bohemian, Anolik says.
“When Joan makes certain statements about herself in her early essays, she’s not actually describing herself,” says Anolik, who considers the distinction between the 2 writers fascinating. “Joan was in a sorority in high school; she was a joiner. Eve was the outcast.”
“Didion & Babitz,” accessible Nov. 12, probes this Janus-like distinction till a pointy image types of Didion because the bold careerist and Babitz as her muse, who subsequently turns into a author herself. Babitz’s life is the supply code for her finest books, 1974’s “Eve’s Hollywood” and 1977’s “Slow Days, Fast Company”; her tales are ecstatically, deliriously alive, charged with sexual vitality and lethal wit. After Anolik’s 2014 Self-importance Truthful profile of Babitz, the author loved a revival, and her books got here again in print, showcasing an unique voice that consciously or not, is the antithesis of Didion’s coolly indifferent reportage.
Babitz’s letters reveal a fancy touch-and-go friendship between the 2: Didion jump-started Babitz’s literary profession by writing a letter of advice to Rolling Stone then-editor Grover Lewis, who revealed Babitz’s story “The Sheik.” One other letter reveals that Didion edited “Eve’s Hollywood,” one thing that Babitz, in her numerous conversations with Anolik for her 2019 biography, had by no means talked about. Didion additionally helped to get Babitz’s collage artwork into Vogue. “Joan had benevolent impulses toward Eve,” says Anolik. “She wanted to help her.”
But, lower than a yr after Rolling Stone revealed “The Sheik” in 1972, Babitz fired off a pointed missive to Didion, taking her to process for her refusal to acknowledge the methods through which sexism had impeded the inventive progress of girls. “Would you be allowed to write if you weren’t so physically unthreatening?” Babitz writes. “Could you write what you write if you weren’t so tiny, Joan?”
The connection had taken a flip. “Where Eve once seemed wild and inspired to Joan,” writes Anolik, “she now seemed slack and slothful. Where Joan once seemed meticulous and masterly to Eve, she now seemed dogged and doctrinaire.”
Joan was now “Joan Didion,” a lot to Eve’s dismay. “Eve didn’t want to come off as professional in any way,” says Anolik. “She thought that kind of careerism was antithetical to what art was all about. She believed in the notion of pursuing art in and of itself. Eve bristled at Joan’s ambition but, of course, she absolutely wanted that kind of career.”
Babitz, by Anolik’s estimation, had one nice ebook in her: “Slow Days, Fast Company,” a set of tales that contact on her romantic relationships with Ruscha’s brother, Paul, and Rolling Stone’s Lewis, in addition to “the politesse of threesomes, sleeping on the roof of the patio of the Polo Lounge in the Beverly Hills Hotel and what to wear when taking cocaine on acid,” amongst different issues.
“Everything came together for Eve with ‘Slow Days, Fast Company,’” says Anolik. “She was just the right mix of self-confident and self-doubting. She had the right editor in Vicky Wilson. She had the right boyfriend in Paul Ruscha. And she was on just the right amount of drugs. She was using coke but not abusing coke. It was the perfect storm, so she wrote the perfect book.”
Anolik is much less charitable about Babitz’s subsequent work, which she considers to be attenuated and strained, missing the buzzy exuberance of “Slow Days, Fast Company.” Maybe it was Babitz’s lack of self-discipline, or her extreme drug use, or the incipient onset of Huntington’s illness, which might finally take her life.
Didion would go on to put in writing “The White Album,” her traditional 1979 assortment of essays, and transfer to New York earlier than publishing two memoirs — 2005’s “The Year of Magical Thinking” and 2011’s “Blue Nights” — that turned mammoth bestsellers. She would find yourself dying a number of days after Babitz in 2021.
“You can’t tell the story of Eve without Joan, and vice versa,” says Anolik. “They needed each other on some level.”
