Socialites from the United States

"He looks as though he's been weaned on a pickle."

"The little man on the wedding cake."

"If you can't say something good about someone, sit right here by me."

"I have a simple philosophy. Fill what's empty. Empty what's full. And scratch where it itches."

"I've always believed in the adage that the secret of eternal youth is arrested development."

"I valued my independence from an early age and was always something of a individualist … Well, a show-off anyway."

"I can be President of the United States, or I can control Alice. I cannot possibly do both."

"Cooking is like decorating — it never bores me."

"Having people be impressed with a house is not a compliment. You don't want them to say, 'What a place!' You want them to sit down and enjoy it."

"Never put sofas against wall."

"No white anything (except sheets)."

"Texture and pattern should function as a surprise."

"We were about ways to show money."

"I don't like bare floors."

"Everything is really about lighting."

"Appearance is everything. I find that a view is secondary. Even in those apartments on the East River, it's dull, looking out at those little boats."

"I'll be dragged from the last room I do, screaming, 'More!'"

"A la Rothschild, a style I define as many good things used irreverently."

"Find the ideal in something not ideal."

"I'll accept commissions from anyone who isn't frightened by my proposals."

"To understand Vers libre, one must abandon all desire to find in it the even rhythm of metrical feet. One must allow the lines to flow as they will when read aloud by an intelligent reader."

"Polyphonic prose is a kind of free verse, except that it is still freer. Polyphonic makes full use of cadence, rime, alliteration, assonance."

"Life is a stream On which we strew Petal by petal the flower of our heart."

"Mr. Sandburg possesses a powerful imagination, which plays over and about his realistic themes and constantly ennobles them. ...strikes, and factories, and slaughter-houses, and railroad trains, all take on a lyric quality under his touch. ...When Carl Sandburg left college, he was no longer an unskilled labourer, working with his hands. He was a thinking man, with a brain charged with ideas and emotions, determined to do his part in bringing about the millennium. For Carl Sandburg... is a revolutionary; he must push the world to where he is convinced it ought to be. ...again and again, he deserts the seer's mountain peak for the demagogue's soap-box. ...Mr. Sandburg is like a man striving to batter down a jail with balls of brightly coloured glass. ...Whether constant preoccupation with disease is a healthy form of literature, whether it acts as a curative, is open to question. But we can surely say that to be curative the disease must be treated unsentimentally and truly. Mr. Sandburg has aimed at doing this, has striven hard to do it. For this, one honours him above his fellows. For this, and the spirit of beauty which pervades his work."

"[the story] "Sword Blades and Poppy Seeds" is a tribute to Amy Lowell, I've done a lot of what you might call metaliterature; that is, literature that's saying, "Isn't Amy Lowell wonderful? This is sort of like what she did." (Q: Lowell's underrated now, isn't she?) A: She was a wonderful narrative poet, but narrative verse is totally out of fashion now. I think it was one of her reactions to being a woman and a lesbian. An outsider has to write outsider verse. She's one of those people who wrote so prolifically that a lot of it is not good, but some of it is absolutely superb. She has a collection that attracted me called Down East, which is poems in New England dialect, and she has written stories of the supernatural in verse that I absolutely love."

"You know what they say - the sweetest word in the English language is revenge."

"The whole world is a scab. The point is to pick it constructively."

"I do love Alice in Wonderland though, that's something I think I could do very well. Don't you think we ought to do an A.W.? A.W.'s Alice in Wonderland? Andy Warhol's Alice in Wonderland? A.W. stands for a lot of things, I understand. It, uh, it would make a fantastic film. So I wanted somebody to write the script for it, in a modern sense. I think it would be the most marvelous movie in the world, if it could be done. Don't you think? Really, I don't think they've done one since they did a Walt Disney one — which isn’t really doing it. In a sense it is, but not in the way it really should be done. What's needed right now is a real scene. I mean not just cartoon characters, but the actual character of people because there's so many fantastic people that you might as well use the people."

"It's okay — I know."

"The way those sons-of-bitches took advantage of me. Warhol is a sadistic faggot."

"The real Edie is where the action is. Fast cars, fast horses, and people doing things!"

"I made a mask out of my face because I didn't realize I was quite beautiful. God blessed me so. I practically destroyed it. I had to wear heavy black eyelashes like bat wings, and dark lines under my eyes, and cut all my hair off, my long dark hair. Cut it off and strip it silver and blonde. All those little maneuvers I did out of things that were happening in my life that upset me."

"It's frightening and glamorous and exciting at the same time. I wouldn't change it for anything! After the bad and sad times in my life, it's something I want to do."

"Fashion as a whole is a farce, completely. The people behind it are perverted, the styles are created by freaked out people, just natural weirdos. I know this because I worked with all those people while I was modeling."

"I moved out to Santa Barbara to straighten out, supposedly, and I started using drugs, which I found were plentiful in Isla Vista, around the college campus — UCSB. And then I started rollicking around with all kinds of kids a lot younger than me. Anywhere from 15 to their 20s, but I was kind of in my late 20s. And, uh...I had fun, but I really didn't have anyone I particularly loved. And I still don't, except for loving friends, but I mean I haven't been in love with anyone in years and years. But I have a certain amount of faith that it'll come."

"Everything that happened to me has been a paradox for life. The very things that I should have done would have been the trap. The very things I might have given into, that demanded, that said, this is your life. I mean, this is your only way to survive, are the things I found hardest to end. 'Cause I believed in something else. You have to work like mad to make people understand... Even if I don't make it, you know, I really insist on believing, and then I fall off the edge because there's nobody else to follow it. And I would just fall off the edge."

"Dr. Roberts says, "Hello, girls . . . how are we today? Are you all ready? Okay. Hop up. Put all your weight on this leg. Okay? ready? My god, this rear end looks like a battlefield." You went to hear something I wrote about the horror of speed? Well, maybe you don't but the nearly incommunicable torments of speed, buzzerama, that acrylic high, horrorous, yodeling, repetitious echoes of an infinity so brutally harrowing that words cannot capture the devastation nor the tone of such a vicious nightmare. Yes, I'm even getting paranoid, which is a trip for me. I don't really dig it, but there it is. It's hard to choose between the climactic ecstasies of speed and cocaine. They're similar. Oh, they are so fabulous. That fantabulous sexual exhilaration. Which is better, coke or speed? It's hard to choose. The purest speed, the purest coke, and sex is a deadlock. Speeding and booze. That gets funny. You get chattering at about fifty miles an hour over the downdraft, and booze kind of cools it. It can get very funny. Utterly ridiculous. It's a good combination for a party. Not for an orgy, though. Speedball! Speed and heroin. That was the first time I had a shot in each arm. Closed my eyes. Opened my arms. Closed my fists, and jab, jab. A shot of cocaine and speed, and a shot of heroin. Stripped off all my clothes, leapt downstairs, and ran out on Park Avenue and two blocks down it before my friends caught me. Naked. Naked as a lima bean. A speedball is from another world. It's a little bit dangerous. Pure coke, pure speed, and pure sex. Wow! The ultimate in climax. Once I went over to Dr. Roberts for a shot of cocaine. It was very strange because he wouldn't tell me what it was and I was playing it cool. It was my first intravenous shot, and I said, "Well, I don't feel it." And so he gave me another one, and all of a sudden I went blind. Just flipped out of my skull! I ended up wildly balling him. And flipping him out of his skull. He was probably shot up . . . he was always shooting up around the corner anyway."

"Oh, wow, what a scene that place was - that heavenly drug down sexual perversion get their rocks off health spa. I was already so bombed I don't know how I got there. I got down to the pool, where all the freaks were. I met Paul America at the pool and I told him we were probably in danger if we stayed, but we were so blasted we forgot what was good for us and what wasn't, and the whole place turned into a giant orgy . . . every kind of sex freak, from homosexuals to nymphomaniacs . . . oh, everybody eating each other on the raft, and drinking, guzzling tequila and vodka and Scotch and bourbon and shooting up every other second . . . losing syringes down the pool drains, the needles of the mainline scene, blocking the water infiltration system with broken syringes. Oh, it was really some night just going on an incredible sexual tailspin. Gobble, gobble, gobble. Couldn't get enough of it. It was one of the wildest scenes I've ever been in or ever hope to be in. I should be ashamed of myself. I'm not, but I should be. Sex and speed, wow! Like, oh God. A twenty-four-hour climax that can go on for days. And there's no way to explain it unless you've been through it; there's no way to tell anyone who hasn't tasted it. I'd like to turn on the whole world for just a moment . . . just for a moment. I'm greedy; I'd like to keep most of it for myself and a few others, a few of my friends . . . to keep that superlative high, just on the cusp of each day . . . so that I'd radiate sunshine."

"I think drugs are like strawberries. That was something I was very much a part of, but at the same time there's that incredible nightmare paranoia . . . it drives human beings crazy. It frightened me to see it around me . . . I had everything that could be moves stolen by speed freaks. Things began to disappear. The Queen Bee Speedfreaks and Amphetamine Annie had found out where my apartment was. All my jewelry was stolen and all my expensive clothes. Dior, Balenciaga . . . just tons of originals. By the way, have you heard anything about my furs? Everybody's wearing them."

"I'd been two years locked up in hospitals. I was twenty when I got out from Bloomingdale and I met a young man from Harvard who was very attractive in a sort of Ivy League way. And we made love in my grandmother's apartment and it was terrific, it was just fabulous. That was the first time I ever made love, and I had no inhibitions or anything. It was just beautiful. I didn't get my period and so I had to tell my doctor. The hospital pass was given to see if you could handle yourself outside. I was terrified to tell him that I thought I was pregnant, but I finally did. I was pregnant. I could get an abortion without any hassle at all, just on the grounds of a psychiatric case. So that wasn't too good a first experience with lovemaking. I mean it kind of screwed up my head, for one thing. This fellow found out. I was upset . . . and he asked me, and I said, "I'm pregnant. I'm not going to ask you for anything, so don't get uptight, but it's just kind of making me uncomfortable. I don't know exactly what I'm going to do about it." He split, and I didn't see him again until the summer had passed and I went to Cambridge for my first free year."

"I'm a little nervous about saying anything about "the Artist" because it kind of sticks him right between the eyes, but he deserves it. Warhol really fucked up a great many people's - young people's - lives. My introduction to heavy drugs came through the Factory. I liked the introduction to drugs I received. I was a good target for the scene; I blossomed into a healthy young drug addict."

"kk kk ggg ddd wowo well uh, well, no, well sa-ay. I I I know know know I I can but it's ha ha ha hard."

"It was really sad - Bobby's and my affair. The only true, passionate, and lasting love scene, and I practically ended up in the psychopathic ward. I had really learned about sex from him, making love, loving, giving. It just completely blew my mind - it drove me a little insane. I was like a sex slave to this man. I could make love for forty-eight hours, forty-eight hours, without getting tired. But the minute he left me alone, I felt so empty and lost that I would start popping pills. He had more or less quit using drugs . . . When I first knew him, a friend of his used to come up with him to my apartment and they'd do a number in the bathroom. This guy eventually died of a heroin overdose, and Bobby left drugs alone after that. But if I wasn't practically in the act of lovemaking, I would be thinking of how to get hold of drugs. I really loved this man. . . . What happened was that Bobby said, "Let's go to a party. They're making an underground movie," and he said that I, the Warhol heiress, queen, star, socialite, blah, should be there. Bobby really wanted to go. I had a bad scene with him. I pulled out a knife and I wasn't going to let him out the door until he made love to me. I always get really dreadful. But we finally went. I went through it all. I was furious - this after about two years of our continuing relationship. Finally I said, "Now I'm going to leave this party. I'm fed up." He said that was all right: he'd met all the people he wanted to meet, and he'd watched the film begin shot. So we got into my limousine and he said, "Where would you like to eat?" I thought I was going to explode. Where would I like to eat? I screeched at him, "Why the hell can't you make up your own mind where we're going to eat? Why do I have to make all the decisions?" I was just livid, out of hand. I got madder and madder as we drove along, and just as we drove by the Chelsea Hotel I did something. I've never done anything to hurt anyone, and yet I was so furious that I pressed the button and rolled down the window screen - the glass plate between the front and back seats - and I told the chauffeur that the man in the back was molesting me; he was a junkie! I was so horrified by what I'd said, so flipped out by that, that I jumped out of the car into the path of the oncoming traffic, certain that my head would be crushed. All that happened was the I got bruised, badly bruised, but no broken bones. I mean, I was conscious, not destroyed at all. But I'd done such a terrible thing! I couldn't reconcile that. I had been about to explode. The hotel people came out, and they and Bobby carried me in. I had to pretend I was unconscious because I couldn't comprehend the fact that I had tried to get him busted, to hurt him seriously. He was the only person I had ever gotten violent about. I take out whatever violence comes into my system much more heavily on myself than on anyone else. But that was a pretty tight squeeze. I really craved making love to him."

"It's not that I'm rebelling. It's that I'm just trying to find another way."

"I have an accident about every two years, and one day it won't be an accident!"

"I act this way because that's the way I feel like acting. If people like it, fine. If they don't, that's their problem."

"I came to New York to see what I could see — that's from a children's book, isn't it? — and to find the living part."

"The very things I might have given in to, that demanded, that said, this is your life. I mean, this is your only way to survive, are the things I fought hardest to end. 'Cause I believed in something else. And um, what makes that sane is that I can understand other people's situations in their own terms, but I still can't understand mine."

"I lived a very isolated life. When you start at 20, you have a lot of nonsense to work out of your system."

"I had no money. My parents closed down all credit. I couldn't get any money, and they were trying to lock me up again because I'd taken some acid and told my psychiatrist about it. I just told him what the experience was like and he jumped, and at the same time he read about Andy Warhol's "pornographic" movies in Time. I was in the studio a lot, so my psychiatrist got really upset and called my parents and was gonna have me put away, so I ran away to Europe with Andy and Chuck."

"I want a further step for me...that's my process of development. I don't want to cut it off. I understand where it's been cut off for other people, and I understand the whole process in that order of things, but I see no way in that isn't a trap, that will let me out again without damaging too much, you know?"

"I heard about this doctor who gave vitamin shots, and they were very stimulating and kept you going for quite a while. I was under treatment with vitamin therapy, just multivitamin shots. But I heard about this super deal that this other doctor had. A guy I was going out with at the time told me not to go to him, never to have his shots. So I immediately took them, thinking there must be something special about them...And there was. And I went, and that was the beginning of injecting drugs. I went to a doctor for it. I didn't handle it myself until a year later. I turned into a total speed freak for a few months. That's about as long as I could survive, and then I placed myself in the hospital."

"You care enough, that you want your life to be fulfilled in a living way, not in a painting way, not in a writing way...you really do want it to be involving in living, corresponding with other living objects, moving, changing, that kind of thing."

"I want to reach people and express myself. You have to put up with the risk of being misunderstood if you are going to try to communicate. You have to put up with people projecting their own ideas, attitudes, misunderstanding you. But it's worth being a public fool if that's all you can be in order to communicate yourself."

"They say use it, channel it. Do it, like there will be a sign, be an artist, you're so creative, do anything, you've got to do it, use it. Then, things like, and you've got to collect yourself, too. I mean, you know, make your hair more about yourself, self-respect. But I mean, ridiculous. You know why my doctor got so mad this time? He said, that scene, remember in the LSD bit, the only time I had it in that, sleeping with what's-his-name and having that sex bit go on while, it was very strange-mannered, but I certainly wasn't mortified. I mean, I humanly might be a little mortified knowing that a thousand other human beings would think it mortifying, but basically, me. So he thought that was a total lack of self-respect, which is wrong. Totally wrong."

"It's not going to interfere with the film. I heal miraculously. I've been in an auto accident and another fire. They thought I'd need plastic surgery, but I haven't a scar...No, I don't think I'm accident prone, but it's strange."

"It's like my having to walk down thousands and thousands of white marble stairs...and nothing but a very very blue sky, very blue, like...Yes, and I'd have to walk down them forever. I never thought about going up...I don't know, don't you think that must mean something? It never occurred to me to turn it around, I mean, why didn't I think that way? This was after I had the car accident."

"I think something very weird's going on now, 'cause the power that is permitted to youth is quite extraordinary. And they are sort of run by that kind of power."

"It's sort of like a mockery in a way of reality because they think everything is smiles and sweetness and flowers when there is something bitter to taste. And to pretend there isn't is foolish. I mean the ones that wonder around and know, at the same time, and yet wear flowers, and they deserve to wear flowers. And they've earned their smile...you can tell by people's eyes."

"Isn't that sad! I'm so fragile. It's tragic [laughs]. Can you believe it? That's so sad."

"When I started going around with Andy people thought I had a press agent. I didn't. After a while I got sort of paranoid about all the publicity, and I holed up in my apartment and cut off the telephone for two months. I saw only two people. Then I felt ready to go out again. I want to do more acting. I like it, but it's hard — the long hours, getting the lines straight, I didn't have to do that with Andy."

"I say the word death a lot … think of it as … primal relations, opposite, so if I say death a lot, it means I'm concerned with life. It's true."

"I'm out of my mind! Somebody told me that a long time ago. Some idiot! [laughs] … In a dream. I don't want to think about dreams now."

"When I was in the hospital, I was very suicidal in a kind of blind way, I was starving to death and just 'cause I didn't want to turn out like my family showed me, you know, that's all I ever saw of people, was my own family. I wasn't allowed to associate with anyone. Oh, God. So I didn't want to live."

"I held out pretty long before I really had an affair, but I got lots of attention from my father physically. He was always trying to sleep with me … from the age of about seven on. Only I resisted that. And one of my brothers who claimed that sisters were there for the purpose of teaching … a sister and brother should teach each other the rules and the game of making love; and I wouldn't fall for that either. I just felt, I had no reason to feel. Nobody told me that incest was a bad thing or anything, but I just didn't feel turned on by them."

"But I really, since I exist, at all, I believe that it's possible for people...I've lived through impossible situations. So I believe in it. I just believe, and that's the magic...That's the whole thing, you talk about magic that there's to believe in, and it is there. But most people don't really believe in it. And I refuse, like, since I'm still alive and done the things I've done and seen things and understood things as far as I have, and I am alive, I mean physically intact. When I shouldn't be, according to medical reports and so forth. I mean I should be, not here. That's all there is to it. So the magic's working and it's a rare situation."

"Why do people stop developing, or, like they stop the way you can rate their, psychologically, their development? Where they stop, and just from being children to maybe stopping at a very adolescent age, and they stay there until they die. Physically die. I mean, they react adolescently. They don't change. They don't develop. They don't — it's that continual read, that process which is is the total threat for the ego."

"If all I cared about was me, I could make a million. And that's what they will never understand."

"In the year 2000 you're going to have a problem....Leisure time will be a problem in the year 2000. I just want you to realize, I just want to make sure that you know of it now."

"The colors...oh, I see the most fantastic things. Do you realize when people just close their eyes what they see? It's unbelievable. Colors and things, forms of every sort. I wonder if that happens for everybody?"

"I'm afraid of habit patterns...It would be too much of a routine if you had to establish definite ways of getting through things. You'd get very bored."

"You live alone, creating your life as you go."

"We had some good times. We would go to the Park and have a picnic. Or lock the doors to be sure no one was coming into the hotel. But those time never lasted very long. Somebody was always coming over. I threw a lot of people out who were bothering her . . . who had come to rip her off. I threw them out as soon as they came in. She didn't dig that, because she dug the scene of a lot of people. She called the bellman and tried to have me thrown out. So I left and didn't come back."

"Fort Lee is where Edith reached the point where they all decided they were through with her. After the film project began to go to pieces, Edith wanted to get back with Andy. She saw him a few times - making up with him - and they did a little film together. The Ciao! people got paranoid about it because they heard Andy was going to release it and call it Ciao Manhattan. They were absolutely terrified. A close friend of Andy's had come around and said, "Dears, I want you all to know that Andy has already filmed, edited, and published Ciao! Manhattan. It is very soon to be released with Edie Sedgwick, and it is the real Ciao! Manhattan.""

"She took her first and only subway ride in New York. The people on the train just loved her. She never sat down the whole way out - the train was so crowded we stood all the way from the East Village to Coney Island. She was in all that mad regalia with a bikini underneath so we could go swimming. The people loved her. She was talking to everyone and getting along. We rode in the first car so she could look out of the window in the front. She was fascinated by the tunnels and the weaving of the train and the clacking. Just fabulous. She'd never experienced anything like it. We did everything. We had cotton candy; ate hot dogs at Nathan's; we went on the parachute jump, the roller-coaster; we went swimming in the surf and lying in the sun. We collected shells and rocks and brought back two completely chewed corncobs for souvenirs. We did everything. The funhouse. She was just incredulous . . . all wild-eyed and goo-gaa. The distortion mirrors. And the laughing and the laughing. She screamed all the way up and all the way down the parachute jump, the big peacock-feather earrings standing straight out from her head. We got on the log sluice ride with those big silicone logs, and you came down this big sluice, and water splashed over her feathers and hat and everything, and she just loved every minute of it. I took her on the ride where the man in the gorilla costume chases after you car - one of those spook house things. She just loved him, carrying on with him and asking him into the car with us. On the carousel she rode the swan - a double or triple-seater with the silhouette of a swan on either side. She said, "Birds of a feather ought to stick together." We went swimming - leaving all this velvet and feathers strewn all over the beach in the midst of these Puerto Rican people and black people and everything. We went way over our heads swimming. Then we came home on the subway with all the rush-hour crowds. The front car both times. Oh, she just loved it! We came home so exhausted."

"Edie was not that involved in her horse sculpture; she kept covering it with damp towels and there was a question of whether or not it would dry out irreparably. She felt that the Casa B and Cambridge were "not enough." New York had a real night life. It was a natural migration. I helped her pack and drove her to New York in her Mercedes-Benz. I think her idea was to model in New York. Much of that summer of 1964 she went to a salon where they literally pounded her legs into shape. Her legs were not good in those days - piano legs - but by the time the course was over she ended up with those legs that were so famously beautiful."

"Almost at precisely the same time Bobby ran into the bus on New Year's Eve, Edie was in a bad accident out in California. Edie was driving. There was flashing red light and she didn't stop. A big saloon car drove right into us. The car went into a lamp stand on the next street. My head went through the windshield. The car was totaled. They had it on TV - "How did two people step out of this car alive?" I was cut around the right eye and had to have twenty-two stiches. Edie, it turned out, had broken a knee. Edie was very scared that her father was going to use this accident as an excuse to put her back in the loony bin. We talked things over in the hospital room. She decided that we'd leave undetected. Her mother was in cahoots with her. She came and picked us up in a station wagon. Edie's leg was in plaster. Mrs. Sedgwick drove us to the ranch, and then we took our stuff and I drove Edie directly to the Los Angeles airport where we had a drink, and then she boarded the next plane for New York. I never saw her again."

"I don't think Edie had ever given up on a regular, on at least the concept of having a regular, easygoing kind of life. Although it might have been a little out of her reach, she would emulate that …It was like she could see, just out of her reach, she could see how it could have been her, what she could offer, the fine quality of thought that she was capable of."

"She thought it was funny that people thought they were important."

"I think she had a naiveté. That's how she was able to dominate...because she had no self-judgement, except on this deep level."

"She would do almost anything that came into her head."

"When they let her out, we began living together. One thing I remember . . . well, how she smelled. In sex your body takes on a certain odor. Edie had a particular smell that came out in lovemaking . . . a sweet but somewhat sickly smell, like orchids. I always thought it had something to do with her burns and the chemicals involved in reconstituting her body. To fuck her was like fucking a very strong child, a twelve-year-old girl . . . athletic and coltish. We finally moved into the Warwick Hotel, registering there as Mr. and Mrs. Carson because she was afraid they wouldn't let her in under her own name. She thought she was on a hotel blacklist for burning her room in the Chelsea. She had kept me up for about a week straight. Then one day in the back of the toilet I found the little plastic top they put on hypodermic needles, and I realized she was on speed. I really got pissed off. I had a kind of messianic Jesus Christ complex . . . getting involved with girls who are victims and trying to save them. So I got the drugs and took them away from her. We stayed there for two more days without her being allowed to shoot up, and I watched her disintegrate. I had to hold her down on the bed; she writhed; she bounced off the walls. She turned from being Edie, this beautiful woman, into a monkey. It got very violent. we were both being violent, threatening to jump out the windows and kill each other. I told her I was going to kill myself if she didn't stop it. I guess I was trying to make myself into the victim that she would have to save, turning into Edie Sedgwick, doing an Edie Sedgwick number. She got insulted because I was threatening her. Finally I called her doctor and said, "She's driving me crazy." I told him I was losing a lot of weight, and that I was a wreck. I was over the edge. "What can I do?" I told him I couldn't take care of her and she wouldn't voluntarily commit herself anyplace any more. . . . He said, "Leave. Get out!" I was at that state where that was all I could do. I called Warhol and got a hold of Ondine to come and take care of her. Andy wouldn't do it. He just couldn't handle it. But Ondine was enough of a monster to handle Edie, who was another monster. One speed freak knows a lot about another. So he got on the phone and he screamed at her and she screamed at him, but they were having a great game: she was finally being handled by somebody who knew exactly what she was up to. . . . Then three minor Warhol people came up to the room, but not Ondine. They got all the dope she had in the room and laid it out on the bed. They had a funny way of handling it . . . opening up the capsules on the bed and tasting the stuff and saying how great it was, really good speed, and childing her for not letting them know that she had all this stuff. They were packing it up to use - right? They said to me, "Okay, we'll take care of her. Go ahead and leave." Edie was delighted, because she thought she was among friends; I guess she'd gotten tired of pushing me around and playing tricks on me. . . . So I left. I got on a plane and went back to Texas and went to sleep for a couple of days. Three or four days later the police came to the house in Texas and said they'd gotten a call from the manager of the house in Texas and said they'd gotten a call from the manager of the Warwick Hotel in New York saying that my wife was in Bellevue Hospital."

"Before he went to jail, it was Paul America who took a hand with Edie. Paul had been on heroin, but he had gotten off it, and as it turned out, he took up residence with Edie in the Chelsea and he got her off it as well."

"She had a looseleaf notebook with photographs of herself . . . newspaper clipping and cut-outs, mostly from fashion magazines. I remember being saddened by that. She'd show it to the patients so that they could be made sure that she'd been a model and been in the movies, and that she was Edie Sedgwick. She talked about that stupid horse sculpture that the state bought from her father and then gave to Earl Warren Showgrounds. She was putting him down but at the same time letting people know that she was somebody."

"I never had that much to do with Edie Sedgwick. I've seen where I have had, and read that I have had, but I don't remember Edie that well. I remember she was around, but I know other people who, as far as I know, might have been involved with Edie. Uh, she was a great girl. An exciting girl, very enthusiastic...But I don't recall any type of relationship. If I did have one, I think I'd remember."

"Edie on one level was an unparalleled exhibitionist, but on another level she was very shy. I think the thing about Edie, her antic quality had a lot to do with her charm. She would go to any length to please. She needed to be accepted really on a visceral level, not the way most of us need to be accepted — kind of casually."

"It was sad but not shocking. There was something about Edie that said, "This is a one-act play. It's not going to go on forever.""

"Edie would drive her Mercedes on acid! I thought that was the most daredevil thing she'd ever been into . . . I mean, she'd go up on curbs sometimes, and she'd never pay much attention to traffic lights. It was like everything else: her own rules applied."

"We drove up to the Castle. Edie had left Sepp and was going with Dino Valente then - he wrote this one song, "Come on, children, let's all get together, smile on your brother." It became a classic, but it was a one-shotter. Edie was with him up at the Castle. As soon as I got up there, she was after me: "Oh, do you have any downs?" I said, "Nope." "Aw, come on, I just need a Tuinal to get through till tomorrow. I need three Tuinals a day and I've only had two. Last night I took six and they didn't work." In fact, I did have some pills with me, but I wasn't going to let her get near them. . . . Relationships were built entirely on drugs . . . the only thing going. "Do we have any junk for tonight?" I hid my suitcase under my bed that night. I took the pills out and hid them somewhere in the room. A few hours later, and don't you know, Edie found them? They were all gone. She must have had a nose for them, because she didn't even have to rip the room apart to find them."

"Edie Sedgwick was close with all those people who were close to the Kennedys. Edie had affairs with a couple of them, didn't she? I think one would come in the front door and the other brother would go out the back. So it was at the same time, but not the same minute. Everyone knew that. I loved Bobby Kennedy. He was my political idol. Sometimes Edie would say about Bobby, "Oh, he was so cute and cuddly," but I wasn't going to ask her about him. I mean, what are you going to ask, "Does he have a big dick?""

"You knew that you couldn't really have her, everybody knew that, that she was doomed. You just knew that."

"She wanted to move on. She was as great in the little movies made in the Factory as anyone was in a four-million-dollar movie from MGM. So Edie used to wonder: "Should I go to Hollywood? Should I break away from Andy? Should I get a real agent?" People were toying around with her. All sorts of leads. But she'd meet them and come back and say, "Oh, God, they're such assholes! I can't work with them. I have to be with my friends. I want to be with people I love. I could never love those people. They're all stupid. Morons. Forget it." That's not your most professional of attitudes. I'd say to Edie: "You have to do it. If you want to make it in show business, you have to deal with morons. It doesn't matter if they don't like you for exactly the right reasons, or pamper you the right way, or are too stupid to appreciate you for what you really are." But it was hard to get away from the Andy thing. It was so much fun; it was party time. She felt she couldn't make the transition into the real crap you have to deal with in order to make it. Once you were in those silver aluminum rooms in the Factory, you were in the world like going though the looking glass in a way a point of contact where everything is happening and one is recognized and creative."

"I suppose Edie thought of herself as a caterpillar that had turned into a butterfly. She had thought of herself as just another kid in a big, rather unhappy family, and all of a sudden the spotlights were on her and she was being treated as something very, very special, but inside she felt like a lump of dirt. Then when she was being paid less attention to, she didn't know who she was. That possibility of destruction was built into the weakness of her personality. We have to get used to the reality that we're alone. If you can't get used to it, then you go mad. And she went kind of mad."

"She was something of a wild child but there was such an innocence about her and a childlike thing at the same time … She was just so sweet, you know. There was just no malice in her."

"She would go out and get pissed: she was on Seconal and vodka. She became totally different. She didn't know where she was. "Is Paul America here?" she'd say. "Let's go somewhere" . . . and we'd have to tell her, "Edie, we're in California, not New York.""

"There seemed to be this almost supernatural glow to her that's hard to describe. Literally there was an aura emanating from her, a white or blue aura. It's as if Edie was illuminated from within. Her skin was translucent — Marilyn Monroe had that quality."

"Her looks, her expressions, I think, were her sense of humor."

"All of the clothes at Paraphernalia were experimental. Always changing. It had nothing to do with the customer. I had everything to do with the time, the moment. We were giving the customer something brand new, something that she didn't have a clue she wanted. It was all very spaceship. "What would you wear on the moon?" That was the big question of the Sixties. Everybody felt real future, real positive, real up, optimistic, and the whole Timothy Leary drug trip. Edie and Andy were just the ultimate, you know. Edie and the rock 'n' roll groups were it. The Stones, the Beatles were where you could hear it. John Cale from the Velvet Underground. Paraphernalia was where you could buy it. . . . Edie was my first fitting model. Very boyish . . . in fact, she was the very beginning of the whole unisex trip."

"She was a sweet simple girl. I don't know the other sides of Edie. I know the sweet, wide-eyed, enthusiastic Edie."

"Andy represented a threat and challenge at the same time. Fuzzy was a conservative, and the idea that perhaps Andy was sleeping with his daughter was very disturbing to him."

"I went to the bathroom and there I saw the most incredible creature I have ever seen, and it was this young woman with alabaster skin, incredibly pale, paler than me actually, which was difficult to do. She had short, Jean Seberg kind of platinum hair, and the shortest, shortest, shortest garment I've ever seen on anybody ever, also white...So I was looking at this creature...and I see her in the mirror with an eyeliner pencil, painting a scar on her forehead in black with cross-stitches...I don't know what it meant, but I was terrified."

"She loved the things she did not know. She was eager to learn, not in the way of a pupil, but somehow in the way of an artist."

"She was incredibly absorbing and retentive, and it all came fresh to her...You got the impression that the creature, that Edie, was made literally by Zeus three weeks ago, that there was no past to her, save what she picked up from books and people. With her there was no traditional structure, no formal structure. She indeed would compare Raymond Chandler or Jane Austen or ancient Rome to what she experienced last night with the tuna fish, but it was marvelous and fresh."

"When I knew her, she was not of this Earth. She was, indeed, never of this Earth. She was born of madness and suffering and declined into madness and suffering. But she had a period when the sun shone for her, when life was smiling. And she was smiling with it."

"Warren [Beatty] told me that Edie Sedgwick, she wanted to meet him, so he said "OK" cause he was curious, as any red-blooded American male would have been. She came over and he said she had a completely see-through raincoat on and nothing on underneath it. Isn't that funny? He didn't fuck her. Isn't that unusual?"

"She wasn't very good...She used so much of herself with every line that we knew she'd be immolated after three performances."

"The first hints of the split between Andy and Edie came with the making of the film My Hustler in July, 1965. Chuck Wein conceived of this film for Andy. He didn't write anything in it for Edie - not surprising since it was a homosexual film - but he did include a brief sequence with Genevieve Charbin. I don't know what Chuck's motives were, but Edie complained."

"When we were riding in the limousine, after Edie had just come out of Capezio, and had just bought brand new shoes, she was carrying on about how she loved the shoes. Had spent a lot of money on them. And after taking a second look at them, she decided she didn't like them, rolled down the window and threw them out. That's the essential Edie. Not a happy person."

"She actually walked out on us, she said, "I am tired of making these films with Andy Warhol, I don't like the scripts, I don't want to learn the scripts, I think he makes me look ridiculous sometimes." You know, she was really upset about how she felt she appeared in Warhol movies, even though everyone else thought she was fantastic."

"Edie went through limosine companies the way people go through cigarettes. She never paid her bills, so the limousine people would shut off her credit, and she'd shift to another company. The drivers loved her madly, because she'd dole out these twenty-five and thirty-five dollar tips. This one shiny black Cadillac limousine with a terrified driver would wait maybe three or four hours for Edie to come out of some sleazy artist's loft on the Bowery down beneath a bridge by the Fulton Fish Market with nothing around but trucks and derelict cars. She had the ability to relate on all levels . . . with chauffeurs or ranch hands . . . understanding the human condition, yet at the same time because of that upbringing of hers, rejecting anything less than numero uno. She would order fish and invariably ask the waiter, "Is this fish fresh?" Of course in New York there's hardly any fresh fish, but whether it was a sleazy little restaurant downtown or Le Pavillion, she would invariably ask that question."

"Edie got cut off about the time she started living in the Chelsea - no more allowance - so we got her a professional money manager, Seymour Rosen. He tried to get her family to contribute to the easing of the financial situation, but at that point they weren't ready to trust anybody. So she had no money coming in. The only people she had to turn to were people from her own social circle' some of them were generous, some weren't. To give Edie a check for a thousand dollars was like giving most people ten."

"When I finally reached Edie on the phone, she called out to me: "Get me out of here! I'm a prisoner." Shortly afterwards she was on a plane back to New York, where she arrived smiling and completely covering up the discomfort she had experienced at home. She had a certain puritanical way of not letting her blues get in the way of her life-style."

"That is unusual, to look like you had just walked out of a fairy tale. She had nothing human about her, just mystery."

"Some things you are born to, and Edie was born to die from her pleasures. She would have to die from drugs whoever gave them to her."

"Anybody who could tell a girl like Edie Sedgwick that she was being stabbed in the back by Andy Warhol, of all people, were idiots, it's where she got her fame and basically the reason why Edie was even known was because of Warhol. Let's just face it, it's all Warhol, Warhol, Warhol. People turned her against Warhol for their own devious reasons. They convinced her she was the next Marilyn Monroe. I think personally she was a great screen presence. But I don't think she was the next Marilyn Monroe because she wasn't a Hollywood type. Who would use her out in Hollywood?"

"After Ciao! Manhattan she came back to the Factory and we tried to make a movie with her, Warhol and I, but we just wiped our hands of her, there was nothing we could do with her. How many times can you tell a person to stop doing something without really getting bored with it? I'd never seen Warhol walk away from his camera in a fit of just absolute, abject disgust but during that filming, a little movie of his called Edie and Ondine he just said, "Stop, I won't film anymore." He said "this is disgusting, just absolutely disgusting." She was so full of self-pity and so humble and so everything else it was just awful, it was horrible, intolerable."

"There's no way people can stand outside a museum and chant "Edie and Andy." But they were out there, chanting and screaming. They were that relevant."

"Edie still had fantasies about making more films. Michael was going to be her agent. She was waiting to see what was going to happen to Ciao! Manhattan."

"I think Edie was one of those personages. When you came in contact with her, you came away with a deep impression of her. And then she moved in circles where almost automatically with that impression came a story or some sort of an event or a happening. Everywhere she went things began to buzz and happen around her."

"One group there was talking about dope . . . going on about speed and pot and how great it was. That's what made me so proud of Edie. She told them, "I've had it, I've had the whole thing, and let me tell you it's not worth it. Don't do it. Don't." To hear her say it to a gathering of people most of them strangers, not to just Michael and me, was really fantastic. Of course, they were being pseudo-sophisticated and saying things like, "You have to take it to survive." That was why it was ironic later when Veronica Janeway got so vicious. She was saying to Edie. "You're sick! You're an addict, a dope addict. You're a heroin addict." Edie was wearing a sleeveless dress. She had two cats which had scratched her arms. Veronica was pointing at the marks. "Look at that! Look at that! I do volunteer work in a hospital and I know all about this stuff." I said, "Those aren't heroin marks; that's from a cat." Edie was just thrown back. Veronica was very loud. Then she began on how ugly Edie was- a jealousy in her about beautiful women. On and on she went. She must have been drunk. When Michael arrived, right away she lit into him: "Who do you think you are - looking like Jesus Christ? What are you doing here?" Edie whispered to me, "This woman hates me." I said, "Don't worry about it. Everything's going to be all right.""

"I'd just gotten in. The first day. The nurse said, "This is your room and this is your roommate, blah, blah, blah." It was about ten-thirty in the morning. I lay down on the bed, put my hands behind my head, and was just about to take a deep breath and go Ahhhh, when Edie came in. She was wearing one of those white cloth things that they make you wear for X-rays. She come in smoking a cigarette - this horrible, raspy cough - and she looked as light as a feather . . . like she was walking on air . . . and she sort of came down and lighted on one side of the bed. She held my wrist. I thought, "Oh, wow, this chick really looks like she's been through the war! The war." she said "I'm Edie Sedgwick." "My goodness," I thought, "this sure is a friendly hospital." I said I'd read something about her in the paper not too long before . . . about her father being a sculptor. We went on like that . . . just kind of small talk, really. That's how I met her. There wasn't anything sexual between us while I was in the hospital. I didn't want to be another statistic on the boards. I saw her go through a number of guys. Like once a guy named Preacher came in filthy jeans, black leather jacket, Hell's Angels type guy and I thought, "What is she doing with him?" Before that, it was somebody who'd just gotten out of prison notorious as the Santa Barbara cat burglar. He would steal people blind while they were right in bed sleeping . . . take the rings and watched off their fingers. He was with her. I didn't want that. Besides, I had made a vow to myself that I would not make love to anyone before I was twenty-one. But I thought Edie was fascinating. I was in Cottage Hospital to quit the drug world. To get away from it. But even in the hospital I couldn't. People in the corridors kept coming at me to ask, "Can you get me this? Can you get me that?" I would say, "But I'm a patient here. How in the world am I going to get that?" They wanted me to get, like, hundreds of thousands of pills. Speed pills I took very rarely. Just on Friday or Saturday night."

"Our wedding was on the 24th of July, 1971. The ranch gets scorching hot in the summertime, but on that day there was a nice, cool breeze. Edie wanted a formal wedding. I objected to a certain degree, but I thought, "Well, might as well go through with it.""

"Edie was just a fabulous dancer. Always on air except when there was too much booze in her, and then I'd have to sort of hold her up. But she'd always insist on it even if she couldn't dance under her own power. It was always dance, dance, dance. She'd say, "Well, I've got to dance some things out." But then it was time for me to go back into school. She got a bad ear infection in October and they gave her antibiotics to cure it. She turned out to be allergic and came down with serum sickness, which is in your bones and makes you ache twenty-four hours a day. So she was on pain medication for that and then the pills started coming back. She stayed in bed a lot of the time and I read children's bookes to her - Winnie-the-Pooh."

"The alarm went off. It was seven-thirty. I opened my eyes, closed them, and then opened them again . . . started to get up and move around. I looked over and I noticed Edie was still in that exact same position . . . on her right side with her head facing down on the corner of the pillow. It was odd because usually she would flop the pillow on the floor and lay flat on the bed. Well, I thought . . . well, I had done that once or twice in my life . . . woken up in the same position I'd gone to sleep in. But that morning I touched her on the shoulder . . . and she was just . . . just cold. I sort of freaked out. My whole body lifted off the bed. I fiddled with the phone and started screaming and yelling, "I think my wife's dead! Get someone over! Haul ass!" Then I rolled her over and tried resuscitation. Her jaw was locked . . . cold and stiff. I kept at the mouth-to-mouth resuscitation until I heard the doorbell ring and a policeman came in. The policeman touched her wrist to see if there was a pulse; he was not doing anything, you know. So I started yelling at him, "Do something, do something! I believe in miracles. Get her up! Resuscitate her!" Same thing when the guys from the ambulance came in. They said, "You know, there's nothing we can do," before they'd even tried to do anything. It was like they were all telling me, "Just forget it. Forget it." All those school years I'd heard that even if someone's completely blue in the face, resuscitation worse. But no one did anything. I was running around . . . no clothes on . . . tears streaming down my face. They were rude. I just got furious. Edie didn't have any clothes on. They wanted to take her body away. I said, "Well, not without any clothes on." They kept asking about drugs. Dr. Mercer arrived. He talked about the medications. She just looked so helpless."

"Even in her most far-out sort of state she had tremendous appeal. That's what was so incredible about her, is that she could be really spaced beyond belief, and she still could put a sentence together that would blow your brains out … That one-upmanship kind of thing."

"I was always intimidated and self-conscious when I talked to her or was in her presence because she was like art. I mean, she was an object that had been very strongly, effectively created."

"Edie wasn't crazy in any way, shape or form...drugs would simulate madness."

"She made you feel privileged to be there."

"I love orchids. It was a personal thing from me to her. I said, "You really need to fix yourself up, my dear. Put them on you somewhere." She cried out, "I hate them! I don't want to be beautiful!" She wrecked the flowers. Edie was hating me. We were both hating each other because of the roles we were playing . . . I loved Edie, but I couldn't stand being in the movie with her the way she looked. She was horrible in the movie, and mean. The things I was saying were so horrible."

"The Warhol people felt Edie was giving them trouble - they were furious with her because she wasn't cooperating. So they went to a Forty-second Street bar and found Ingrid von Schefflin. They had noticed: "Doesn't this girl look like an ugly Edie? Let's really teach Edie a lesson. Let's make a movie with her and tell Edie she's the big new star." They cut her hair like Edie's. They made her up like Edie. Her name became Ingrid Superstar . . . just an invention to make Edie feel horrible."

"There was some sort of problem about continuing with Edie at Vogue. Perhaps the magazine's policy became involved. The whole thing kind of collapsed. It was never pursued again. We lost a moment when we could have captured it . . . which was sad. She disappeared from our lives. Edie's timing was a fraction off. She almost did become a part of the family at Vogue. If that had happened, she would have had tremendous protection. But she was identified in the gossip columns with the drug scene, and back then there was a certain apprehension about being involved in that scene people were really terrified by it."

"It was a hot, bright day, and she wore sunglasses, a tight blouse, and short pants. I was spellbound. Edie livened up the meal considerably by skipping out on dessert to slip out through the French doors to the backyard, where she stripped down to her panties to sunbathe half naked — I remember nothing but a sense of spectacular whiteness against the green lawn — while the grownups sipped coffee from demitasse cups, unaware."

"One night Edie and I were sitting there. She was drinking coffee to speed herself up some more - God! - when out of the blue she said, "Hey, Jonathan! I think you should make love with me!" I said, "No, Edie, no, I'm not into that!" "I really think you should do it, Jonathan. I'd like to." She reminded me of the time when she went to London with Suky and my mother, and I came over from Germany, from the Army; Edie wanted to make love with me, and I didn't do it then either. She said, "Everybody always wanted me. My father wanted me. He tried to make love to me. All the men on the ranch wanted me. Even you wanted me, Jonathan." I said, "Yeah I did. For sure." So in the coffee shop she kept saying, "I think it's something you should do. Jonathan, I . . . I really think you ought to make love with me now." She was very high on speed her head was shaking up and down. "Jonathan, I think we ought to do it now." I felt maybe we should find out what our love was for each other. She was beautiful; I liked her. I knew she'd teach me something . . . but I didn't do it."

"She was an alien. She'd pick up what you were about to say before you'd say it."

"When she was walking along the street, she dropped her purse and a whole bunch of reds and things fell out. A cop car pulled up, 'What ya doing?' And then the cops get the idea that she was carrying drugs on her. So they got out and threw her up against the car, her hands up over the hood, at which point her purse spilled open again and they're whites, the reds falling everywhere! The cop who had pushed her against the car turned around and began picking up the stuff, so she wheeled around and gave him a kick in the ass man, with all the energy and hate she could. The court put Edie on probation for 5 years. After the bust she became a patient at the Cottage Hospital in Santa Barbara."

"I immediately said on the phone: "Don't let them get to her! She's not dead yet, man!" I felt she'd simply astro-projected, which means that you've separated your consciousness from your body and you're still connected by some sort of energy: some call it a silver thread, or a silver cord. Jimi Hendrix went out on it and never came back. Edie did, too. I tried to see if we could stop it, but they'd already taken the blood out of her, and once that's done, you're dead."

"The funeral was a drag, man. Everybody was feeling sorry for themselves. Michael was feeling sorry for himself. Mummy was feeling sorry for herself. Krista and I were the only people there who felt sorry for everybody else. I cried. I hurt a lot about Edie, and I hurt a lot about Minty, and I hurt a lot about Bobby, and I hurt a lot about Fuzzy. Sometimes I wonder how many people a family can destroy with their stupidity."

"I think as she got older, the recklessness got stronger, and it really would have been far more brave for her to try to do otherwise than what she was doing. She was the opposite of brave. She let the tide carry her along. And the tide was a destructive one, and she became a smaller and smaller speck as she simply let herself be swept along in its flow."

"Edie seemed superficially sane. Rather than anxious or disturbed, she seemed angry and resigned. But then at lunch I saw her heap her plate and eat in that bizarre way that anorectics do, picking and wolfing . . . and then she would get up and disappear. When I heard what the choices were - that unless Edie went to the mental hospital at Silver Hill where Minty had been, my father would leave the family. I said to my mother, "You're in a situation where you have to choose between your husband and your children." She said, "Oh no, there's no question of leaving my husband. I couldn't.""

"I was a great, great friend of Edie Sedgwick … Edie and I were in several of the early Andy Warhol films … Edie was beautiful beyond words. She was absolutely breath-taking and a very sweet person. Edie was a precious person. She was heavily into drugs which caused her death. … Edie was very glamorous. And truly beautiful, breathtaking, and I think it was a great loss she died so young."

"Edie didn't belong with the bikers. Like, she was a rich hippie. the rich hippies, their mommy buys them a chopper - a four-thousand-dollar chopper - and they drive it until the weather gets cold and they get themselves a nice, warm car. Your true biker takes his bike out whatever the weather because he loves it. When a rich hippie gets in an accident, he sells his bike, what's left of it. "Oh, I got hurt, I don't want this." The good biker fixes his. I've been lucky. I've been down quite a few times . . . tasted the pavement quite a bit. You live by a bike; you die by a bike, That's what I believe."

"Once, when she saw the script of Shower - probably the best one-actor I've ever written, in which Edie and Roger Trudeau spend the whole thing in the shower- she started screaming, "I will not be a spokesman for Tavel's perversities!" That was the first time I'd ever heard my work described as perverse. I was to hear it in years to come from some of our best-known critics . . . but that was the first time anyone cared enough to say such a thing. "I will not be in it!" Edie cried, and marched out. "I won't do this!" The end really came when Edie tore up the script of a movie called Space, saying she wasn't going to memorize anything. She started to read a few of her lines: "What is all this about? How stupid!" and tore it up, right in front of everybody. That's when I walked out. That may have been the last time I saw her."

"The maid said, "Can I take your coat?" She said, "No, I don't think so. I'm a little cold." Later Edie told me the real reason she didn't want to take her coat off was that she wasn't wearing any clothes under it."

"It must have had an effect on Andy - Edie leaving him for Dylan, or whoever. He was probably in love with Edie, with all of us - a sexless kind of love, but he would take up your whole life so that you had no time for any other man. When Edie left with Grossman and Dylan, that was betrayal, and he was furious . . . a lover betrayed by his mistress."

"Edie loved parties. Edie adored parties. It was a very comfortable party. People dancing. The moon rose out of the ocean, spiraling up in the dark. It was the final touch — a nice moon rippling on the ocean and turning everything silver. Edie was very sensitive to enchantments. She broke away from the form completely and was doing these totally free dance movements. We looked out from under the marquee, and there she was on this deserted lawn. And she was cartwheeling across it, cartwheeling. I remember the music dying down as the focus of attention shifted to her out there. Edie had disappeared. It was a bit spooky. Somebody said, "We saw her go swimming." She was nowhere in sight on this beach. "Is that her? Way, way out?" Edie was way out...a little dark head...such a distance. She seemed to be going under and then surfacing again. I could see the shine of her legs as she dove. It was like her dancing the night before. She was playing … totally natural and involved in the element of water; she was like a porpoise. She seemed only to exist freely in atmospheres that were removed or enchanted … most people are happy swimming by the shore, but she was happy out there."

"For some reason Edie was very strongly on me that night so I decided to have Myers's daiquiris because it was Myers's daiquiris that Edie and I had in Casablanca, where the whole Cambridge scene between us took place. They had never heard of a daiquiri in South India so we had to make them ourselves. They got the lemon out from behind the bar and we bought a bottle of dark rum. When they finally brought out a jug . . . I think it was a metal can . . . we took the lemons and we squeezed them, and then they brought out the sugar little by little to add to the mixture. India is a very poor country and there's never enough sugar. We set up a glass for Edie, which is an Indian thing . . . a way of honoring some spirit that was killed. So there was a glass for Edie sitting on the other side of the table from my friend Mike and I. I remembered that Edie smoked, so I put a cigarette in the ashtray there. The cigarette wasn't lit and it just sat there. And the drink sat there. And I talked about Edie."

"One person in the sixties fascinated me more than anybody I had ever known. And the fascination I experienced was probably very close to a certain kind of love. now. But her name is still going. It seems incredible, doesn't it?"

"She had a poignantly vacant, vulnerable quality that made her a reflection of everybody's private fantasies."

"She was also a compulsive liar; she just couldn't tell the truth about anything. And what an actress. She could really turn on the tears. She could somehow always make you believe her — that's how she got what she wanted."

"Sort of Egyptian, with her head tilting in just the right, beautiful way. People called it 'The Sedgwick', and Edie was the only one who did it — everybody else was doing The Jerk."

"She'd be off to a jet-set party here and an underground party there, and also rapping to the guy from the deli. And everybody on each level believed that her life on that level was her real trip."

"Edie saw herself as tough like a little tomboy."

"It was at Lester Persky's place that Edie met Andy Warhol. It was early 1965. She was doing her dance there - a sort of balletlike rock 'n' roll. We'd had an idea of opening up an underwater discotheque where Edie'd dance her ballet to Bach played at rock 'n' roll tempo. So Andy invited us down to the Factory the next day and he said, "Why don't we do some things together?" Andy spotted her energy. Everybody else was tired and going through the trip."

"Edie could keep everybody busy getting her things . . . eight guys calling her up from eight different social strata. She'd be off to a jet set party here and an underground party there, and also rapping to the guy from the deli. And everybody on each level believed that her life on that level was her real trip. She kept everybody going!"

"Edie was very smart, you know, too smart. Because she came from such an insular place, she had an interesting commentary on what went by, 'cause she saw it like it was rather than in some social context like we all would."

"She couldn't really cope with the day-to-day reality, and she always needed to have friends who understood that. Edie provided the glamour, you see, and the glitter . . . when she walked into some place, the whole room turned. And if they didn't, she'd do something in the next twenty second that would make them. She'd giggle or she'd dance and spin around."

"Edie was back in Cottage Hospital the summer of 1970 when I made my first attempt to recontact her and finish Ciao! Manhattan. Actually, at this point she seemed like she had really gotten a new grip on her life. That was one of her tricks: "I've really been to the depths, but now I want to start a new life. A normal, simple life." That was the image that Edie was projecting at that time, and I got very caught up in it. "Okay, Edie, we're going to finish Ciao! Manhattan; we're all going to do it together; it's our project; we believe in it.""

"Brigid told Andy that Edie had suffocated, and Andy asked when?, not sounding particularly surprised or shaken. But then, that's Andy. Brigid pointed out to him that Edie hadn't died of drugs, she had suffocated in her sleep. And Andy asked how she could do a thing like that. Brigid didn't know. Then Andy asked whether he would inherit the money? (I took the he as a reference to Edie's young husband at the time of Edie's death.) Brigid said that Edie didn't have any money. Then, after a pause, Andy continued with something like, Well, what have you been doing? Then Brigid started talking about going to the dentist."

"(on her DUI) I have a responsibility, and it's something that I did wrong, and if I could personally apologize to every single person that has lost a loved one from drunk driving I would. And unfortunately, I can't, but this is my way of paying my dues and taking responsibility and being an adult."

"When my dad divorced my mom it was kind of like him leaving me also. I just really didn't understand why he wasn't returning my phone calls, or why I couldn't see him whenever I wanted to. That was the most hurtful thing to me."

"I’m very happy with my life and I wouldn’t take back any mistake I’ve made because it’s made me who I am today. I don’t walk around pretending that I’m perfect, so I don’t think that anyone else should hold me to that and not expect me to fuck up occasionally. Because I do, and you do, too."

"I don’t trust valets, waiters — nobody. I don’t waste my time anymore trying to figure out who leaks things to the press."

"It’s not me that’s obsessed with my weight, it’s everyone else. I know that I’m healthy, so I don’t really feel the need to answer to anyone. I’ve never substituted a meal for a salad in my life."

"My plan was not to be a celebrity. My plan was to be a singer and an entertainer. I wanted to go to NYU, major in musical theater, do Broadway, and come out with an album. Unfortunately, I started fucking up when I was in my teens."

"I'm not going to lie and say I wasn't really thin at one point, because I was. But it had nothing to do with not eating. I'm not saying that I have more problems than everyone else, but people's weight fluctuates, and five or ten pounds is a lot on me."

"I'm bustier now, and I really don't like it. It doesn't really fit with my wardrobe, it's not who I am. I am not someone who is used to wearing a bra or having to wear a bra I really don't like it. I like wearing vintage hippy see-through shirts that aren't slutty on me because there's nothing to look at. Now I have boobs so I can't really wear it because it sends out a different message."

"Guys are so transparent most of the time. Unless, of course, they're dating you, in which case they are utter mysteries."

"When you grow up in Bel Air and shop only in expensive boutiques on Rodeo and Robertson, you develop a kind of allergy to anything unpretty -clothes, cars... even people... you start thinking that if you hang around unattractive people, their homeliness can be contagious."

"Oh my god. I just hung around with an unpretty person. Excuse me while I go home to scrub myself with expensive body wash and a pink loofah, to rid myself of the unpretty germs."

"... It sucked. I couldn't sleep. I couldn't eat. I couldn't even shop. Actually that's not true. I had gotten this amazing Marni backless dress down at Barneys the day before-but I didn't go really crazy like normal."

"All the boys in rehab are totally available because their girlfriends have all given up on them. It's fantastic."

"She didn't want to know how much Ray had paid for it because that had nothing to do with its real value."

"They may signify wealth, but they can actually mean so much more-like committment, family, and love. And there's nothing like a perfect diamond to remind you that you'll never be perfect - the truth is, all you can do is try."

"There are only about four hundred people in New York society."

"I presume your Grand Children are with you, and doubt not that they will afford you every consolation that existing Circumstances will admit. Present me affectionately and sympathetically to them they also have lost a protecting affectionate Connection, and I have lost a much valued Friend."

"I have certainly experienced severe trials, and some hard dispensations of Providence … To travel with some dignity, innocence, and usefulness, down the Road which leads from the Morning of Youth to the Night of the Grave, is perhaps as much as we can flatter ourselves with accomplishing."

"Powel: Well, Doctor, what have we got? Benjamin Franklin: A republic, Madam, if you can keep it. Powel: And why not keep it? Franklin: Because the people, on tasting the dish, are always disposed to eat more of it than does them good."

"Your resignation wou'd elate the Enemies of good Government...They would say that you were actuated by Principles of self-Love alone—that you saw the Post was not tenable with any Prospect of adding to your Fame. The antifederalists would use it as an argument for dissolving the Union, and would urge that you, from Experience, had found the present System a bad one, and had, artfully, withdrawn from it that you might not be crushed under its Ruins."

"[You] have frequently demonstrated that you possess an Empire over yourself. For Gods sake do not yield that Empire to a Love of Ease, Retirement, rural Pursuits, or a false Diffidence of Abilities which those that best know you so justly appreciate. Convince the World then that you are a practical Philosopher, and that your native Philanthropy has inducted you to relinquish an Object so Essiential to your Happiness...That you are not indifferent to the Plaudits of the World I must conclude when I believe that the love of honest Fame has and ever will be predominate in the best the noblest and most capable Natures. Nor is the Approbation of Mankind to be disregarded with Impunity even by you."

"Contrary to American custom, [Mrs. Powel] plays the leading role in the family. What chiefly distinguishes her is her taste for conversation [and] her wit and knowledge."

"[The Powels were] difficult to separate from each other, who lived together not as man and wife… but as two friends, happily matched in point of understanding, taste, and information."

"Dined at Mr. Powells -- A most sinfull Feast again! Every Thing which could delight the Eye, or allure the Taste."

"Like Mira, Virtue’s Self possess Let her adorn your Mind For Virtue in a pleasing dress Has Charms for all Mankind Her spotless Mantle shall be shown When its blest Owner flies The Flaming Chariot make it known When Soaring to the Skies."

"When in society she will animate and give a brilliancy to the whole Conversation; you know the uncommons command she has of Language and her ideas flow with rapidity."

"I’ve also seen both sexes mistreat their servants, servants’ children, and scream abuses at poor people in the markets. In Pakistan, abuse is not as openly discussed as it is in the West. Abuse seems to be more acceptable as long as one maintains a luxury lifestyle."

"I understand why some women choose to wear burqas as a protective cover to keep the men from staring,” said Ritchie, speaking of her experience of Pakistan. “It’s important to note that both women and men stare, but men are more obvious. In Islam, men are taught to lower their gaze in front of a woman, but that does not happen often."

"Whatever and whoever Ms. Ritchie,..., however many ‘privileges’ she enjoys, is a separate matter. Without any reference to the individuals she has pointed fingers at, because there is no way of knowing if those accusations are genuine- her claims of the harassment suffered by women in general at the hands of men in general, are distressingly true, and when there is even a grain of truth in a matter, it warrants attention. And what Ms. Richie has said contains more than just a grain."

"Seeking out help is never a weakness. Whether that's just phoning a friend or finding a therapist or starting to read up on things on the internet or in books. Sometimes we think that means we can't help ourselves, that it's a bad thing, but it's not. It's just becoming more self-aware, and I think that that's a really amazing gift to give yourself."

"Since I was little, I've always said when I'm in the U.S., I'm American, but when I'm in China, I'm Chinese, I preserve it by having friends and being able to communicate with people because that's the best way to transmit culture."

"I always wanted to be a femme fatale. Even when I was a young girl, I never really wanted to be a girl. I wanted to be a woman."

"The girls who were unanimously considered beautiful often rested on their beauty alone. I felt I had to do things, to be intelligent and develop a personality in order to be seen as attractive. By the time I realized maybe I wasn't plain and might even possibly be pretty, I had already trained myself to be a little more interesting and informed."

"Usually, the fairy tale ends with the girl marrying the prince. But mine started as soon as the marriage was over."

"Confidence. If you have it, you can make anything look good."

"I've been working seriously in giving fashion a place that it deserves."

"I wanted to be an empowered woman, and I became an empowered woman. And now I want to empower every woman. And I do it through my clothes, I do it through my words, I do it through my money, I do it through everything."

"We’ve built this amazing life for ourselves, and sometimes I feel like it can be a curse,” she said. “Sometimes, I feel like I’ve helped build something that can also be a burden. The haters, they’re so brutal sometimes. And I feel bad that I brought this element to our lives. It’s hard, it’s a struggle.”"

"“Now sometimes I just feel guilty about the other side of the coin, that we’ve created this life, not only a big responsibility, but it also can be very negative,” she added."

"It's not easy. But, I mean, I raise the kids, you know, full-time. They live with me. I welcome a great, healthy relationship with my kids and their dad, and I think he knows that, I push for it all the time, but I also protect them when, you know, it's time for that. And it goes in waves and phases and it’s a lot of work."

"They love their life and their routine and their schedule, And I think just their job as their mom is just to make sure that they stick to their routine and they're healthy and happy. Look, it’s not easy no matter what, co-parenting with anyone."

"I've never once done that. There's been so many times where I've been like, 'Oh, I just wanna show all of these texts. What are you talking about?' We just haven't heard. I begged them, you know, to go hang out or things like that, But, it's more of just the narrative that like, I think it's all good and we're living our life and then I just wake up and there's all these tweets about how I've kidnapped the kids and I'm like, it's not a kidnapping, it's a divorce. We can still all be in each other’s lives and have group dinners."

"I will, you know, say, 'Hey, let's do it here at my house,' or, 'Let's figure out a different time, But actually, when he is like that, he doesn’t really want to see the kids a lot, so if he’s having a hard time, he doesn’t. So, it’s always worked out."

"That narrative really sucks for me and if I spoke out about it and rebutted it, I'm just not that girl online that's going to fight back and be like wait a minute, your assistant and you said you wanted a whole different birthday party and you said your party's at four, so we did ours at noon, now you're going online? It's just a totally different narrative than what the reality is, and that just really sucks."

"I mean, I don’t have a concept of what certain simple things cost, You know, I’d like to know a little bit more about what a milk carton costs."

"I was in a tough position. I didn't, And I was in a tough position because I don't think they were in a position to have shared that information. It wasn't like a healthy place. And so I kind of didn't know if I should take it seriously or not. I had to wait a time period to really assess and see what was happening."

"When you're in your 20s and stuff, it's like all out psycho war, like, take them down, Psychoness when you're in one of those — and that has happened but it's like calling the person. I'll always call the person and go off."

"he psycho side of me would come out just to make the call, and then I'd be like, ‘Okay, that felt good."

"I was at dinner with all of my best friends, put it on speaker board wondering where my boyfriend was. He was flying in town to meet another girl on my birthday and lied to me that he was in a different city."

"hey always knew that he had a big life traveling before and was always on tour and all of that and that he lives in different countries all the time and loves to live all over the place. So we manage it really well. They love their lives and their routine and schedule. My job as their mom is just to make sure they stick to their routine and that they’re healthy and happy."

"Once my mental health starts to get affected and then I can’t parent the way that I need to and I can’t be present and focused, then there’s gotta be one of us that can, And I had to save myself in order to be a better mom for everyone. And I think when everyone’s older, they’ll be able to understand it and see that all."

"I know this sounds crazy, but I know that was meant to happen to me. I don’t want to start crying, but I feel like that was so meant to happen to me, I’m such a different person. I, um…I don’t want to start crying anymore. It was meant to happen to me. I really feel like things happen in your life to teach you things. It was probably no secret, and you see it on the show—I was being flashy and I was definitely materialistic before."

"It’s not to say that I’ll never wear jewelry again or anything like that, [but] I truly don’t know if I’d ever feel comfortable. I don’t know if I’d ever wear real jewelry again, Just…my whole life as changed as far as how I travel and security. I never thought that I needed security staying outside my door, even though I had a lot of jewelry. If you think about it, yeah, I should have had a security guard outside my door 24/7 when I’m traveling and I didn’t. Now, I have several, just for me to be able to sleep at night."

"Sometimes you’re just not ready. A person could have it all, and you’re not ready for it all. But this is where I probably always should have been…[marriage] is something I know that we both want in our future, but I don’t have this sense of urgency about it. I have this best friend who understands me and helps me through all my tough experiences, and vice versa, you know? It just feels like this is it for me."

"I saw fast marriages like Khloe and Lamar’s and that was what seemed to work. [Now] I say give it a good six months before you commit. Feelings change, even if it seems so lustful."

"I was in such a deep depression I thought I was going to back away from it all,You know when you just have that feeling that he's the one? When we moved in I had the feeling he was not the one."

"If anything, the tough decision to end that relationship was such a risk of losing ratings, losing my fan base, but I had to take that risk for myself."

"I've obviously made plenty of mistakes in my lifetime, but I'm not the type to sit and beat myself up over it, If a real lesson was learned, I'm so okay with having experienced that."

"That's so ridiculous. We have to hire a manager, why not hire our mother? No one will fight harder for you than your own mother."

"I'm a completely different person. I don't know if it's growing up or being with Kanye, who's more private, but I try and live my off time as privately as possible. I used to enjoy the spotlight. If I had a day off from filming, I didn't know what to do. Now I enjoy my family time so much, there is this sense of, If it all went away, and I was just a mom, I would love my life."

"When I found out I was pregnant [with North], I was going through an awful divorce, Kanye and I had just been dating for seven months—granted, we knew each other for a decade—and I was like, "I can't do this. It's not the right time." But then I figured, If I'm in my thirties and I'm not ready, I'll never be ready. So it's been the biggest lesson, and the biggest joy of my life."

"My best friend told me, "You'll never remember what your life was like before her, but it'll be OK."... North has taught me patience. There's nothing I wouldn't do for her. And nothing I wouldn't do for my husband. She's empowered us to want to be the best parents and the best spouses.... Today North put on these Manolo heels of mine and was walking perfectly around my closet. I sent Kanye a video of her; he was like, "Tell her to stop! She cannot grow up, she cannot wear your heels.""

"I mean, obviously as you grow up, no one's ever 100 percent proud of every decision that they've made, and that's OK. I think as long as you learn from your mistakes, and don't make them over and over again, you're on the right path."

"I'm not trying to influence anyone else; I'm not saying, "Do what I do." I think it's a little pretentious to say, "I'm a role model"; I would never say that, and I don't think of myself that way. Are there things I'd take back? I don't know if I'd take back the lessons that I've learned. Yeah, there are things that I'd be embarrassed about or wish didn't happen, but if I didn't have all those bad, crazy things, would I be who I am today? I don't know."

"We were just shooting a cover, me in the dress with the champagne glass. But [photographer] Jean-Paul Goude gave me a book of his images when I was in makeup, and it was, like, Naomi Campbell naked and hanging from a rope—one of the coolest shots I've ever seen. So I said to him, "Hey, there's no rush. My publicist isn't here. We can kick the magazine out. If you want to work more, I'm here all night." When everyone came back, I was like, "You guys are going to die when you see what we did." I had dinner with my mom and Kanye afterward; they were like, "How was your shoot?" I was like, "Oh, good." I didn't say anything. When the magazine came out, my mom called screaming, "You didn't f--king warn me!" She went so crazy. I was like, "Relax, it's my shoot, my body, my life.""

"My style was really fun and flirty and cute; very colorful, very trendy. When I started dating Kanye, he was like, "Babe, you have so many crazy shoes and platforms with spikes and jewels, so much going on. Can I have my stylist come and we'll clean out your closet?" I've become in love with this still sexy but just cleaner look."

"I didn't know that I was going to be so open with [my fertility challenges]. But meeting people at my fertility doctor's office who are going through the same things I'm going through, I thought, Why not share my story? It's been really emotional. One doctor told me I would need my uterus removed after I had another baby—I could only have one more. One was like, "You should get a surrogate." The other one was like, "Oh, no, you'll be fine." Then I called my doctor, and he's like, "You know what? I believe—we'll get through it."There are definitely times when I walked out [of the doctor's office] hysterically crying,and other times when I was like, "OK, everything's looking good—it's going to be this month!" The waiting and waiting has been a roller coaster."

"I was a white man and turning yellow when—she came."

"Somewhere in the South Pacific lies a little white boat with a queer crew—an arch-fiend and his two imps, a man who was a man and a woman who placed her honor far—far higher than her life."

"Fighting is like champagne. It goes to the heads of cowards as quickly as of heroes. Any fool can be brave on a battlefield when it's be brave or else be killed."

"Death and taxes and childbirth! There's never any convenient time for any of them!"

"They took my dad from us, put him on a plane and wouldn’t say where to. People, wake up."

"I am calling unto you, not as his supporters, but as Filipinos, to stand for what is right and light a candle, whether you are in the Philippines or abroad. Let us be one in prayer and one in upholding our rights to this sovereignty."

"I will forever walk with pride knowing that I am your daughter, your blood. I am a Duterte. The strength you raised me with will go untamed."

"[About Madonna] I disagree. Nor do I agree with the association of Madonna's name with the title of her LP Like a Virgin."

"I could have had a career in cinema. It was difficult to reinvent myself as a singer. I have a weak voice. I can swing, dance, I'm a show woman, but I had to overcome my extreme shyness. My legs trembled in front of 80,000 people."

"I do yoga and meditation. I'm a vegetarian and I've given up alcohol."

"It's better to be the one who leaves than the one who is left."

"My recurring dream, for many years now, is of a giant wave about to crash onto a beach where I am with a group of friends. I have premonitory dreams."

"I discovered Buddhism during my mother's illness, when I moved to the United States to care for her. It's hard to see a parent die: Buddhism was my reward, all my questions were answered. I eradicated my anger, I realized that it is a poison that I must no longer swallow. Before, I used to go to ashrams but I didn't feel like I belonged anywhere. I didn't renounce anything, Buddhism doesn't ask you to do that: when I was little and preparing for my Confirmation, I thought about becoming a nun."

"My hair has always been my strong point, everyone wondered who took care of it: instead, I trimmed it myself with scissors, on new moon nights, so that it would grow back stronger and faster."

"Those who eliminate animal products from their diet no longer get sick. And then meat makes you go bald."

"Lo dico per la prima volta: il problema fu la marijuana. Romina fumava quella robaccia anche quattro volte al giorno. E lo faceva da anni, ancor prima della scomparsa di Ylenia. Era un'altra donna. Fumava ed era allegra. Finito l'effetto, si intristiva e piangeva. Era irriconoscibile. Non esprimeva più quell'attaccamento alle cose, la passione per la vita, per quello che avevamo vissuto e costruito quegli anni. Fu l'inizio della fine."

"Marquis de Sade: Justine"

"I wrote to my mom saying 'Look, I don't think I want to be a dancer any more so I'm going to quit ballet and stay here. I will have this and this income next week.' I laid it out in a way that she couldn't say no because I was so organised."

"I’ve been really fortunate to work with a lot of women. There were a lot of talented women that were more than capable of directing the show. The goal is to not be patted on the back for hiring a woman, because it shouldn’t be an exceptional thing. It should just be commonplace that women should have equal opportunities as men."

"It’s literally the dream collab duo. It was incredibly surreal for me. To be in the flesh with Richard Linklater and Ethan Hawke and be able to not only witness their process but be a part of it was life-changing."

"I don’t think I want to commit to a franchise. It seems like a lot of time, and I’m scared. I’m a commitment-phobe maybe. But also, no one’s asking me to do anything."

"I don’t feel like I’m always good at representing myself publicly in real time, so I would almost rather say nothing at all? Because rather than have the wrong idea about me, someone just wouldn’t have any idea about me."