By Erica Jong
Any Woman's Blues, first released in 1990, is a story of dependancy and narcissism-the dual obsessions of ourage. World-famous people singer Leila Sand emerged from the sixties and seventies with addictions to medicinal drugs and booze. Leila's most modern dependancy is to a more youthful guy who leaves her sexually ecstatic yet emotionally bereft. The orgasmic frenzies trump the betrayals, so she retains coming again for extra.
finally, Leila frees herself by means of studying the foundations of affection, the Twelve Steps, and the foremost to Serenity in an odyssey that takes her from AA conferences to dens of sin, events with "names" worthy shedding, and erotic gondola rides.
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Extra info for Any Woman's Blues: A Novel of Obsession
She said, in her dulcet, fat-choked voice. At sixty, she seemed more childlike than my own six-year-old daughters—as if something in her had been arrested and the body had aged while the mind blithely, indeed obstinately, remained in infancy. “I will not grow up,” her blue eyes seemed to say. I immediately saw the resemblance between her and her son, the determination to cram oneself with goodies—to the point of nausea if necessary—simply to prove one could do as one pleased. ” Mrs. Donegal asked petulantly.
The story seemed so manifestly canned—as if it had been told many times in these circumstances for the same reason. It was a sort of code, and I had cracked it early. “I was born rich, eccentric, and spoiled,” it said, “and I hope you find this charming, for it’s my only gambit. ” “Ha ha,” I laughed. ” Mrs. Donegal did not appear to detect the hollowness of my laughter. Glad to have a new audience for old stories, she went on and on about Mummy’s taste in caviar and her own debutante days at the Stork Club, her wedding trip to Europe with Ven (the Delahaye broke down in the Alps), and how darling Trick was as a baby.
Wing, like many contemporary women, apparently believed that the secret of happiness was not to be found in the illusion of “the perfect man” but rather in finding strength within one’s self. That strength once found, one could be happy with or without a partner. This search for inner happiness constitutes the fable of Any Woman’s Blues. It has as its theme a woman’s search for a way out of addictive love and toward real self-love, which is not to be confused with narcissism. It should not surprise us that this is so, for inevitably in a writer’s life, “one tends to subsume in a book one is writing all the conflicts one is trying to resolve at that particular time” (Isadora Wing, Interview, 1987).