When I heard the premise of The Unfinished Life of Addison StoneI was intrigued. I figured it would be really good or really bad with not much wiggle room in between. So I sat down to read a chapter or two and didn't get up until I was finished.
Author Adele Griffin has written a memoir of the life and mysterious death of Addison Stone, a young artist-turned-celebrity, as told by her fans, friends, and enemies. The book comes with photographs of the beautiful, petulant Stone and her art. Addison Stone has a mesmerizing story. Addison Stone isn't real. And the more I read, the harder it got to remember that none of these people are real. So good. Best of the Month good.
In the guest essay below, Adele Griffin shares the story behind the story (behind the story).
The Unfinished Life of Addison Stone is an imagined memoir about a small town girl who burns through the New York art scene as bright as a comet, and goes out just as fast. Inspired by the oral history Edie: American Girl, I saw the interview style of that groundbreaking book as a way to release myself to writing exclusively what I loved most: voice.
Addison's story unfolds in memories and anecdotes as her family and friends, peers and rivals, dealers and buyers, all bear witnesses to her troubled, startling, wondrous life. As I created each voice in the drama, I was always conscious of how vividly I saw these people, and how hard I wanted to hear them.
The more real it became, the more I wanted to deliver "proof." I'd always envisioned a photo insert as a way to showcase Addison's talent, but soon it was clear to me that if the book was a layer cake, the next layer would have to be full-color illustrations.
And so Addison was ultimately a compendium of four women"”three professional artists and one Pratt student"”who all came together as a portfolio of talent that would define one artist's gifts. With real art on the page, now my characters never needed to describe imaginary art, which can get stale or precious pretty fast, especially when it transports us to nowhere specific.
But a memoir also requires biographical intimacy. I had Addison in sketches and paintings, but where was Addison the girl, the young woman? Fate or a lucky break brought the electric Giza Lagarce into my home, and from the first photograph we took, I could feel Addison's soul touch down. Giza also licensed me her childhood snapshots, family photos and candids. This all became the stuff of Addison Stone's life, and again I was able to hold onto my cast of narrators without diluting them as vehicles for dumping in the description.
Oral histories are tantalizing glimpses of people as perceived by themselves and others. The roundtable style fascinates me because the endless rotating point of view allows us to enter the story and draw our own conclusions. In my "final Addison" Michelle Rawlings' haunting portraits, that rotation is visually echoed in a looped reflection of identities that blurs the line of muse, model, artist, author. But for me the best visual gift of ADDISON STONE is that I was liberated to create a story of characters simply for character's sake. This is where the story feels most real and pure as a work of my own imagining. And this is where I hope it will resonate. --Adele Griffin