Journalist, photographer, album cover designer and party girl – these are just some of the roles Eve Babitz adopted during her early years in Los Angeles. She describes her first book, Eve’s Hollywood, as a confessional novel. Nevertheless, it reads like a memoir in the form of a series of sketches, snapshots of a bohemian lifestyle, a life lived in the cultural melting pot of LA with all its colour and splendour. Taken in its entirety, it’s quite a ride.
First published in 1972 when Babitz was 29, Eve’s Hollywood consists of 45 vignettes and a scrapbook of photos. Some pieces are very brief (a sequence of three pitch-perfect lines on Cary Grant); others are more substantial (mini-essays on the allure of young ingénues, the trials and tribulations of adolescence and the author’s early lovers). In some ways, the following quote sets the tone for the book – it’s taken from the second snapshot, a piece entitled Hollywood and Vine.
When I was 14, I began writing a book, my memoirs, entitled I Wouldn’t Raise My Kid in Hollywood. A few weeks earlier I had let a spectacularly handsome man drive me home from a party I wasn’t allowed to go to, and when I told him I was 14, he dropped me off a block from my house and said, paternally, before he gave me an unpaternal and never-to-be-forgotten kiss, “Don’t let guys pick you up like this, kid, you might get hurt.” After that I never saw him again except on the front page of the papers two years later when he was found dead in Lana Turner’s bathroom. He was called Johnny Stompanato, poor guy. I’d been writing that book sort of before that, but afterwards I began writing it for real. After that, I’ve always been writing it. (pg. 14)
Eve Babitz grew up in the midst of a talented family. Her father, Sol Babitz, was a baroque musicologist and violinist with the film studio Twentieth Century Fox. Her mother, Mae, was an artist (a few of her drawings of LA appear in the book). Family friends included the composer Igor Stravinsky (Eve’s godfather), the opera singer Marilyn Horne, and the influential poet and essayist Kenneth Rexroth. Here’s one of Eve’s early recollections of Stravinsky.
Stravinsky himself was Stravinsky.
He was tiny and happy and brilliant and drank. He used to slip glasses of scotch to me underneath the coffee table when my mother wasn’t looking when I was 13. At my 16th birthday party, I wore white (very low necked white, of course) and he slipped rose petals down my top when my mother wasn’t looking. (pg. 10)
Several of the vignettes focus on Babitz’s adolescence, the time she spent at Le Conte Junior High and Hollywood High. She writes openly and engagingly about teenage life in the late 1950s, Friday nights at the Polar Palace ice-skating rink and summer days riding the waves at the rather rough beach at Roadside. None of the kids from Eve’s school went there, only the kids from West LA, ‘tough kids with knives, razors, tire irons and lowered cars.’
Babitz is particularly good on the beauty and power of teenage girls. In The Sheik, she highlights the 20 or so girls at Hollywood High who were extraordinarily beautiful, too beautiful for the constraints of the high school environment. The building itself was awash rumours of the girls’ love affairs, their tears and laughter echoed through the corridors. Even the teachers seemed powerless in the face of this overwhelming force of nature.
These were the daughters of people who were beautiful, brave, and foolhardy, who had left their homes and traveled to movie dreams. In the Depression, when most of them came here, people with brains went to New York and people with faces came West. After being born of parents who believed in physical beauty as a fact of power, and being born beautiful themselves, these girls were then raised in California, where statistically the children grow taller, have better teeth and are stronger than anywhere else in the country. When they reach the age of 15 and their beauty arrives, it’s very exciting—like coming into an inheritance and, as with inheritances, it’s fun to be around when they first come into the money and watch how they spend it and on what. (pg. 81)
Babitz develops this theme in Ingenues, Thunderbird Girls and the Neighbouring Belle: A Confusing Tragedy. In this piece we meet Sally, Eve’s best friend in Hollywood High, a beautiful, rich and tragic ingénue. For Eve, it was love at first sight.
It was a romance. Everything to do with Sally was a romance, that was how she was. She wasn’t one of those cheerfully sunny girls who bring spring into a room with them, She was way too Garbo, sullen and tragic. It’s their best friends who flee shrieking from the patio. (pg. 97)
Naturally, several of Babitz’s vignettes capture something of the cultural milieu of Los Angeles. There are the drugs of course, but some of my favourite pieces focus on other aspects of LA life: the sight of a roller skater crossing Sunset Boulevard; the sheer joy of eating taquitos from a roadside stand on Olvera Street, the best taquito place in town; a beautiful mini-essay on the Watts Towers, a set of sculptural structures designed by Sam Rodia. There are many more. This is a book that sparkles with a lively sense of place and time.
Perhaps most importantly, Babitz is keen to put paid to the notion of Los Angeles as a cultural wasteland. She pushes back against the outsiders’ view of LA, those people from the East Coast or abroad who look down on a city they consider to be rather ‘shallow, corrupt and ugly’.
Like talking about uprisings in front of the slaves, people travel to Los Angeles from more civilised spots and cast their insults upon the days, only to see their own reflections sniffing down their noses back. It’s perfectly all right to say, “Los Angeles is so garish and a wasteland,” as they sit beneath the arbors and pour themselves another glass of wine though it’s already 3 p.m. and they should be getting back to the studio to earn their money. (pg. 192)
There are other cultural musings too. Babitz writes of her ultimate love for Lawrence of Arabia, a film she resisted seeing for a year as a result of all the hype and the shower of Academy Awards it attracted. In The Hollywood Branch Library, we hear of the writers Babitz loves and admires, writers such as Isak Dinesen, Virginia Woolf and Joyce Carol Oates. Here she is on Colette whom she discovered at the tender age of 9.
When I travel, there are always certain books that go with me. Colette always is right there. I wouldn’t trust myself anywhere without Earthly Paradise, what if something happened and I didn’t have it? What if the electricity went out and all my friends died? Without Colette, where would I be? For me, Colette is one of those books you open up anywhere and brush up on what to do. (pg. 231)
Colette as a spiritual guide – isn’t that wonderful?
If you haven’t guessed by now, I really loved this book. It’s a difficult one to describe, but I hope I’ve given you a flavour of it here. Babitz’s style is at once both easy going and whip-smart (she is eminently quotable). There is a breezy lightness of touch to her writing that feels so effortless and engaging. The same is true whether Babitz is writing about the deeply personal (the loss of her virginity at the age of 17, ‘it was the Rainier Ale that did it’) or the more surprising (a short piece on her dislike of photocopying is a delight). There are touches of humour threaded through this collection of vignettes too.
In the end, it’s a book you have to experience for yourself. In some ways, I was reminded of Joan Didion’s Play It As It Lays and Lucia Berlin’s stories in A Manual for Cleaning Women (both of which I rate very highly). I feel as though I’ve found a new friend in Eve Babitz, one I’d like to return to again and again.
Eve’s Hollywood is published by NYRB Classics; personal copy.