Slow Days, Fast Company (New York Review Books Classics): The World, the Flesh, and L.A.

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PDF / EPUB File Name: Slow_Days_Fast_Company_-_Eve_Babitz.pdf, Slow_Days_Fast_Company_-_Eve_Babitz.epub anyone who has ever started working out with youtube videos will totally understand how a ten minute long workout can feel like ten hours. this is exactly how this book felt like.

Li, Lucy, "Beyond Nude Chess: Eve Babitz Embodied Bygone L.A." toutfait: The Marcel Duchamp Studies Online Journal July 7, 2011 a b Lambert, Molly (October 7, 2019). "The Perseverance of Eve Babitz's Vision". The Paris Review. Archived from the original on April 21, 2021 . Retrieved April 21, 2021. The weather never normally bothers me when reading a book, but reading these stories never have I felt the need for a warm orangey pink & purple sunset more than now - I can't stand this pissing wind and rain!a b Babitz, Eve (June 14, 2000). "Oral history interview". Archives of American Art (Interview). Interviewed by Paul Karlstrom. Babitz's home, Hollywood, California: Smithsonian Institution. Archived from the original on March 6, 2014 . Retrieved May 1, 2012. Andreeva, Nellie (October 4, 2017). "Hulu Developing 'LA Woman' Comedy Based On Eve Babitz Memoirs From Liz Tigelaar, Amy Pascal and Elizabeth Cantillon". Archived from the original on November 7, 2017 . Retrieved October 4, 2017. Eve Babitz". Counterpoint Press. January 25, 2017. Archived from the original on April 21, 2021 . Retrieved April 21, 2021.

Slow Days, Fast Company is organized as a loose series of sketches. The thread that ties them together is Babitz herself, who often can be found openly contemplating herself. Her concern with her own magnetic appeal comes across less as vanity, however, than simple self-awareness – in her first book, Eve's Hollywood, she is frank: “I looked like Brigitte Bardot and I was Stravinsky’s goddaughter.” Babitz is aware both that her beauty and connections have given her a pass into a social realm inaccessible to most people, and simultaneously condemned her to inhabit a certain stereotype in the eyes of many onlookers. “I wasn’t as used to the new dumb questions, so when men I had once thought of as wise daddies now asked me 'How do you write?’ I did not try and spill red wine in their suede pants, I would just smile and say, 'On a typewriter in the mornings when there’s nothing else to do.’'' Her dishy, evocative style has never been characterized as Joan Didion-deep but it’s inarguably more fun and inviting, providing equally sharp insights on the mood and meaning of Southern California.”—Laura Pearson, Chicago TribuneBabitz’s sentences—fluffy, golden, and spunky—which appear flippant…but like Marilyn Monroe infusing the ditz with closeted intellectualism, Babitz has a genius for revealing the depths of ostensibly shallow waters. It’s a gigantic, sprawling, ongoing studio,” writes Eve. “Everything is off the record.” I admire this heartbeat close approach, which invites a closeness incorporating but also expanding the male gaze, which is an inevitable albatross for a white cis woman telling stories in Los Angeles at this time. We are asked to enter these worlds, to see Los Angeles as Eve does, to consider happiness a right not a luxury. There is music and warmth and jokes and booze and frequently, hot flashes of color and food, like tiny paintings: “golden bracelets caught the light of the mustard hills.” “A faded rose-suede suit.” “A white powder called Coyote’s Brain.” Above all, Eve is fascinated with women, she likes “to find things out from them.” It’s well known that for something to be fiction it must move right along and not meander among the bushes gazing into the next county. Unfortunately, with L.A. it’s impossible. You can’t write a story about L.A. that doesn’t turn around in the middle or get lost. And since it’s the custom for people who “like” L.A. to embrace everything wholesale and wallow in Forest Lawn, all the stories you read make you wonder why the writer doesn’t just go ahead and jump, get it over with. In 1997, Babitz was severely injured when ash from a cigar she was smoking ignited her skirt, causing life-threatening third-degree burns over half her body. Because she had no health insurance, friends and family organized a fund-raising auction to pay her medical bills. Friends and former lovers donated cash and artworks to help pay for her long recovery. Babitz became somewhat more reclusive after this incident, but was still willing to be interviewed on occasion.

Schudel, Matt (December 19, 2021). "Eve Babitz, who chronicled and reveled in Hollywood hedonism, dies at 78". Washington Post. ISSN 0190-8286. Archived from the original on December 20, 2021 . Retrieved December 20, 2021. Babitz’s sentences—fluffy, golden, and spunky—which appear flippant…but like Marilyn Monroe infusing the ditz with closeted intellectualism, Babitz has a genius for revealing the depths of ostensibly shallow waters.”—Monica McClure, The Culture Trip

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a b c d Anolik, Lili (March 2014). "All About Eve—and Then Some". Vanity Fair. Conde Nast. Archived from the original on February 28, 2014 . Retrieved March 1, 2014. a b c Babitz, Eve (2019). "All This and The Godfather Too". I Used To Be Charming. New York: New York Review of Books. ISBN 9781681373799. Archived from the original on April 21, 2021 . Retrieved April 21, 2021. What Babitz has done is rekindled my love for Los Angeles. I never hated the place like the cliched New York transplant. There’s as much culture here as anywhere, and the physical beauty is perfectly balanced by the banality of its freeways and strip malls. But the sun is oppressive and has the effect of following you everywhere with its burningly indifferent eye. I never doubted Los Angeles' vibrancy, but it’s a megacity and as such overwhelming and just as provincial as New York City. Anolik, Lili (2019). Hollywood's Eve: Eve Babitz and the secret history of L.A. New York: Scribner. ISBN 978-1-5011-2579-9. OCLC 1057240688.

Like her first book, Eve's Hollywood, Slow Days, Fast Company: The World, The Flesh, and L.A. is a series of seemingly biographical essays with an admixture of fiction. Where the first book talked about Eve's teeny-bopper years in the 1960s, in her second she becomes the lovely, knowing score girl that everyone wants to meet ... and bed. She hung out with the likes of Jim Morrison, Steve Martin, artist Ed Ruscha, and gallery owner Walter Hopps. a b c Babitz, Eve (2000). "Eve Babitz". www.beatrice.com (Interview). Interviewed by Ron Hogan. Archived from the original on March 27, 2016 . Retrieved September 24, 2015. Two by Two: Tango, Two-step, and the L.A. Night (1999). New York, NY: Simon & Schuster. ISBN 0684833921 OCLC 41641459 People nowadays get upset at the idea of being in love with a city, especially Los Angeles. People think you should be in love with other people or your work or justice. I’ve been in love with people and ideas in several cities and learned that the lovers I’ve loved and the ideas I’ve embraced depended on where I was, how cold it was, and what I had to do to be able to stand it. It’s very easy to stand L.A., which is why it’s almost inevitable that all sorts of ideas get entertained, to say nothing of lovers. Logical sequence, however, gets lost in the shuffle. Art is supposed to uphold standards of organization and structure, but you can’t have those things in Southern California—people have tried. It’s difficult to be truly serious when you’re in a city that can’t even put up a skyscraper for fear the earth will start up one day and bring the whole thing down around everyone’s ears. And so the artists in Los Angeles just don’t have that burning eagerness people expect. And they’re just not serious . It makes friends of mine in New York pace and seethe just remembering the unreasoning delight one encounters with the cloudlike marvels of Larry Bell. although i’d go so far as to say that the moments she wrote about in those stories weren’t all that glamorous. trips to a farm and palm springs couldn’t interest me less if the friends and lovers she writes about are as boring as a trigonometry class at school and if there aren’t any insightful observations about the places she goes to.

I love L.A. The only time I ever go to Forest Lawn is when someone dies. A kid from New York once said: “Look. Which would you rather? To spend eternity looking out over these pretty green hills or in some overcrowded ghetto cemetery next to the expressway in Queens?” L.A. didn’t invent eternity. Forest Lawn is just an example of eternity carried to its logical conclusion. I love L.A. because it does things like that. Her dishy, evocative style has never been characterized as Joan Didion-deep but it's inarguably more fun and inviting, providing equally sharp insights on the mood and meaning of Southern California. In Hollywood’s Eve: Eve Babitz and the Secret History of L.A., biographer Lili Anolik writes, "passing herself off as a groupie allowed Eve to infiltrate, edge into territory from which she'd otherwise have been barred." [15] Reviewing this biography for The Nation, journalist Marie Solis wrote, "Babitz didn’t live a life free from patriarchy, but modern-day readers might surmise that she found a way to outsmart it. Despite her proximity as a Hollywood insider to the powerhouses of male celebrity, she rarely succumbed to their charms; instead, she made everyone play by her own rules." [16] What we now call a ‘fictive memoir’ comes in the form of ten extended anecdotes about Los Angeles, delivered with all the gossipy sprezzatura of the most desirable dinner guest. Food, drink, drugs, sex, sunsets and a surfeit of move stars soak these tales with colour, while the most colourful component of all is our narrator herself.”—Hermione Hoby, TLS