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 folks singer Leila Sand emerged from the sixties and seventies with addictions to medicinal drugs and booze. Leila's newest habit 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
We had arrived at our grand hotel in MOCKBA, and we were about to fall into bed and reassert our primal connection (it had, after all, been seven hours since we made love in Copenhagen, and we were both in a state of deprivation that prisoners of war may know), when Dart smiled at me with his shy “love me” smile (practiced from childhood on his mother, his nannies, his sisters, and any other females he might meet) and extracted from under the insole of his cowboy boots two flattened joints of purest Humboldt County sinsemilla.
On the contrary, I found a rough and incomplete draft of her last “novel,” Any Woman’s Blues; a dozen or more marbled notebooks from Venice, going back to the late seventies, when she was writing Tintoretto’s Daughter; a spring binder of new, unpublished poems, tentatively entitled Lullaby for a Dybbuk; a pile of unpublished essays (many of which I had never seen); another binder, in which was a fragment of a manuscript entitled The Amazon Handbook, by Isadora Wing and Emily Quinn; various folders of literary correspondence to various authors around the world; love letters from a surprising variety of men and women; piles of art and anthropology books; clippings about women artists; and the like.
Ms. Wing’s family seemed not to have tampered with her literary legacy, although one of her ex-husbands was threatening to sue if any part of the new book dealt with him. Fortunately that never became an issue, since his name hardly occurs even in her notebooks. When Isadora Wing moved on, she moved on, and if any ghosts from the past preoccupied her, they were the ghost of her grandfather, Samuel Stoloff, the painter, the ghost of Colette, with whom she felt a great kinship, and the ghost of Amelia Earhart, whose destiny she was soon to share.
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