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Written at the height of her fame but not published until over a decade after her death, this autobiography of actress and sex symbol Marilyn Monroe (1926-1962) poignantly recounts her childhood as an unwanted orphan, her early adolescence, her rise in the film industry from bit player to celebrity, and her marriage to Joe DiMaggio. In this intimate account of a very public life, she tells of her first (non-consensual) sexual experience, her romance with the Yankee Clipper, and her prescient vision of herself as "the kind of girl they found dead in the hall bedroom with an empty bottle of sleeping pills in her hand."
The Marilyn in these pages is a revelation: a gifted, intelligent, vulnerable woman who was far more complex than the unwitting sex siren she portrayed on screen. Lavishly illustrated with photos of Marilyn, this special book celebrates the life and career of an American icon―-from the unique perspective of the icon herself.
Station. It was a beautiful building, and it was always crowded with people carrying suitcases and babies. After that, I used to go there on Sundays and stay most of the day. I would watch people greeting each other when the train crowds entered the waiting room. Or saying good-bye to each other. They seemed to be mostly poor people. Although now and then some well-dressed travelers would appear. But chiefly it was the poor people who kept coming in and going away on trains. You learned a lot
someone who fell in love with them and got married and had children. A few of them even became famous. It may be different in other places, but in Hollywood “being virtuous” is a juvenile sounding phrase like “having the mumps.” Maybe it was the nickel Mr. Kimmel once gave me, or maybe it was the five dollars a week the orphanage used to sell me for, but men who tried to buy me with money made me sick. There were plenty of them. The mere fact that I turned down offers ran my price up. I was
on as if I were going to explode with pain and longing. I thought a great deal about him and other men. My lover was a strong individual. I don’t mean he was dominant. A strong man doesn’t have to be dominant toward a woman. He doesn’t match his strength against a woman weak with love for him. He matches it against the world. When he came into my room and took me in his arms all my troubles were forgotten. I even forgot Norma Jean, and her eyes stopped looking out of mine. I even forgot about
be cut out of the picture because it was vital to the plot. I was the reason one of the stars, Louis Calhern, committed suicide. My characterization was Mae West, Theda Bara, and Bo Peep—in tight silk lounging pajamas. 20 up—and down again In a movie you act in little bits and pieces. You say two lines, and they “cut.” They relight, set up the camera in another place—and you act two more lines. You walk five feet, and they say “cut.” The minute you get going good in your characterization, they
eat and where they’ve been in the last five years. Such men are a total loss. A man can please a woman by talking about himself after they’re lovers. Then he can confess all his sins and tell her of all the other women he has had. Lovers who don’t do that and who keep silent on the subject of their pasts are very rare. And they are not too bright, either. Sometimes men like to hear about a woman’s past love affairs, but it’s better for a woman not to take a chance and tell. Unless she is truly