These laws boil down to being as ruthless, selfish, manipulative, and deceitful as possible. This power game can be played well or poorly, and in these 48 laws culled from the history and wisdom of the world’s greatest power players are the rules that must be followed to win. We live today as courtiers once did in royal courts: we must appear civil while attempting to crush all those around us. The authors have created a sort of anti-Book of Virtues in this encyclopedic compendium of the ways and means of power.Įveryone wants power and everyone is in a constant duplicitous game to gain more power at the expense of others, according to Greene, a screenwriter and former editor at Esquire (Elffers, a book packager, designed the volume, with its attractive marginalia). With short, episodic chapters, Clement ( Prayers for the Stolen, 2014, etc.) delivers real insight into the life of the brilliant artist as well as the glittering-but ultimately chaotic-world that consumed him.Ī disturbing and poetic biography of a talented but massively flawed artist. Not only would the drug destroy their relationship, but also the painter himself. Yet in the end, her love proved no match for Basquiat’s addiction to heroin. Mallouk held on, fighting for him with other women, including, most famously, Madonna. When New York galleries and hipsters like Debbie Harry and Andy Warhol began to discover Basquiat’s “jazz on canvas” paintings, Basquiat would spend his wealth indiscriminately, buying Armani suits only to ruin them with paint and renting limousines so he could throw $100 bills to bums in the street. Despite the unfaithfulness and his drug habit-which Mallouk shared for a time-she still supported the painter, loving him even after he infected her with the pelvic inflammatory disease that would leave her infertile.
At night, he would often go alone to clubs to pick up boys or girls and disappear with them for days at a time. Basquiat immediately moved into Mallouk’s apartment, where he spent his days drawing, masturbating or snorting cocaine. Not long after she arrived, she met Basquiat at a dive bar on the Lower East Side. With its bold and brashly inventive art scene, the city seemed the perfect place for a girl who wore paper dresses, hid heroin in her beehive hairdo and believed that she “had seen God” in Iggy Pop. In 1980, Mallouk left a dysfunctional home in Canada for New York.
A provocative account of the passionate but stormy relationship between a Canadian runaway named Suzanne Mallouk and acclaimed New York artist Jean-Michel Basquiat (1960-1988).
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