In the six decades since it was published, “The Lonely Doll” has become a cult classic, beloved especially among a generation of women artists including Kim Gordon, Anna Sui, and Cindy Sherman.
Dare Wright, in a promotional photo used on the book jacket of “The Lonely Doll.”
According to Nathan, the Lonely Doll books were Wright’s expression of the trauma of an isolated childhood and a life spent under the domineering hand of her mother, Edie. Wright’s parents divorced when she was young, and Edie cut off contact with Wright’s father and her brother, whom Wright didn’t come to know until both were adults. Until Edie’s death, in 1975, mother and daughter were each other’s primary companions.
It was the overbearing Edie, though, who triggered her daughter’s greatest professional endeavor. One day, in 1950, she sent Wright a box containing childhood books and a doll from Wright’s childhood. Edith the doll, who was named after Edie, was an Italian Lenci creation, her body made of felt. The material made her inherently “more malleable, more expressive, with kind of an eerie face,” Brook Ashley, a family friend who became the executor of Wright’s estate, told me recently.
It is tempting to read the Lonely Doll books as a mirror of Wright’s life—the stifled woman-child playing the role of the overbearing parental figure upon the lifeless Edith, and expressing, through the doll, the urges and desires that she never explored on her own. Edith’s short skirts tend to fly up behind her, flashing her petticoats and knickers. On the cover of one sequel, she appears gagged and bound to a tree.
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