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Customer reviews

4.1 out of 5 stars

on 30 December 2014
Not as great a book as Jean Steins EDIE, An American Biography, but a well written book all together, although brief.
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on 21 May 2009
If you have any interest at all in Edie Sedgwick, then I urge you to buy this book. It's amazing. There are hundreds of photographs of her, many of which haven't been seen before. The text is also very interesting, since it's written by the people who actually knew Edie, rather than some annonymous writer. It gives a great insight into a great woman.
This really is a beautiful book, and well worth the money.
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on 23 December 2007
The 2006 Factory Girl biopic starring Sienna Miller, the re-issue of Jean Stein's Edie: An American Biography and the 2002 release of her last film Ciao! Manhattan have all led to a revival of interest in the Factory Superstar, Edie Sedgwick (1943-1971). Fan websites have surfaced as well as a message board for self-proclaimed 'Edie-maniacs'; YouTube features a mini-music video collage of pictures of her, and even internet clothes stores have started selling T-shirts with Sedgwick's image emblazoned on the front. This book, with its POPish title, Edie: Girl on Fire, is another one which reinforces, rather than questions, the cult-like mythologisation of Sedgwick, and has been collated by director David Weisman and New York filmmaker, Melissa Painter.

It is an undeniably beautiful book with hundreds of colour and black-and-white photographs (many of which have not been seen before), a CD of interviews with her from the Ciao! Manhattan period, and quotations from others, largely culled from Jean Stein's book, two Andy Warhol publications (actually edited and largely written by Warhol side-hand Pat Hackett), a previously published Dylan interview, Patti Smith's book (Smith knew Sedgwick briefly) and Katie Mohr's 1999 interview with Michael Post. The only fresh information seems to come from new interviews with Ultra Violet, Danny Fields and Jane Holzer. The narrative that emerges is a tragic one: traumatised by a very difficult childhood with an oppressive and mentally unstable father, Sedgwick went on to be hyped and lionised by the Warhol Factory scene, taken up and then apparently abandoned by the Bob Dylan crowd; she sank into drug abuse, eating disorders, attention-seeking fires, painful shock treatments and a last-ditch attempt at a new life with house & husband in California. What arises most forcefully out of it all is her existential need to please, her desperation to be loved repeatedly and wholly: "She would go to any length to please," says photographer Fred Eberstadt in this book. "She needed to be accepted really on a visceral level, not the way most of us needed to be accepted." According to him, she fatally confused attention with love and love with attention; in this way, she followed her idol and another tragic heroine, Marilyn Monroe, into self-destructive habits and, it might be argued, an early grave. The pivotal point in her life, when the high life she lived in New York buckled and started to collapse for her, came during the Christmas of 1966, when her father, Fuzzy Sedgwick, had her incarcerated in a psychiatric hospital, because he "could not control her". Returning to New York in 1967 (after Bob Neuwirth facilitated her hospital exit), her drug-taking deepens and she looks terribly pale, anorexically thin and utterly washed-out. Sedgwick's husband for the last four months of her life, Michael Post, recalls feeling that she wanted him to compensate for the absence of an authentic parental love, a role he could not fulfil.

The photographs show very clearly a strange transition in her appearance upon which none of the supplementary interviews comment. During her 1960s heyday as a superstar in Warhol's Factory scene, Edie is a unisex beauty - a boyishly thin blonde in black tights and brilliantly colourful 1960s prints. During her descent into serious drug abuse and flight from psychiatric clinic to clinic, she takes on a much more conservative look, letting her natural brown hair grow out to shoulder-length and is pictured wearing prim, paisley clothes. It is, I think, one problem of the book that there is little dialogue between the pictures and the text. The pictures are not captioned and the quotes from Edie herself are not dated, which give the impression (intentionally, it might be presumed) of Edie as a night-flying angel, unfettered by time and social context. This, of course, leads - as all mythologisation does ultimately - to a glossy distortion, or adaptation, of a lived life.

Posthumously she has found the fame for which she craved so desperately during her life, but the price paid for it was, by anyone's standards, exorbitantly high. "She stayed on the high plane," friend Donald Lyons says towards the end of this book, "the rest of us ascended there. Life on the high plane left her finally abandoned".
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HALL OF FAMETOP 500 REVIEWERon 25 February 2007
Interest in "Factory Girl" Edie Sedgwick has been renewed by a biopic that nobody likes. And "Edie: Girl on Fire" attempts to get into the head of the girl (incorrectly) described as the first person famous for being famous -- the text isn't much, but the many pictures are delightful.

It's mostly composed of quotes from various people who knew Edie -- lovers, pals, coworkers, and even the man she was briefly married to. It studies her early life, her life as the star of the Factory, and even quotations from Edie herself ("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").

It's also filled with dozens and dozens of photographs -- maybe on average, two per page. Close-ups, photo shoots, candids of her laughing and posing and smoking and talking and just grinning, and pictures of her while filming her movies with Warhol. Wedding pics, sketches, dancing silly hats, early socialite clubbing days, and more intimate pictures such as Edie carefully sculpting a clay horse.

Edie herself is the main reason to see this -- her charm and vibrancy can really be felt through the camera lens, and you can really see how beautiful she really was, even when her life was falling apart. And the pictures show her in every which way, in all states of mind.

The beauty of the pictures is fortunate, because they're strung on the thin text like wooden beads on a piece of thread. The quotes are nice, often informative, but they make Edie seem like some kind of idealized angel who had no real flaws. And those essays that pop up every now and then are just revolting squishy and worshipful -- it's impossible to get a sense for what Sedgwick was actually like.

"Edie: Girl on Fire" is a simply brilliant photographic record of Edie Sedgwick's all-too-brief life. But the text isn't nearly as fulfilling -- just enjoy the view, and glean what you can of the Factory Girl from the images she left behind.
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on 20 May 2011
The authors chose to use only witness accounts from those who knew Edie. Whilst this was certainly fascinating, it did mean that from time to time someone who knew Edie would refer to an aspect of Edie's life and then move on when I was left wanting to know more. I should have liked to have heard more about her eating disorders for instance and I'd have been very interested to know what the medical professions think about her (I suspect strongly that she suffered from Borderline Personality Disorder for instance).

But it was a good read and well, anything about that poor little rich girl fascinates me.
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on 15 October 2011
Absolutely amazing book, I was actually expecting a story but when the book arrive I was pleasantly surprised to find so much more! The best book I own!
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