“Joan's beauty was more than the sum of its parts. She was soft and feminine, and wore silky clinging clothes and small bandannas tied close to her head. In her reserve, in her achievement of a personal style, she reminded Edie of Garbo.”

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Joan Vollmer6

Common-law wife of William S. Burroughs 1923–1951

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“She moved slowly, and her coat, too tight, made her belly stick out more prominently. With the two dollars deep in her purse she wandered off, more uncertain than ever, for now she saw the shining pans and pots and the cloth, so soft to the touch. Her desires grew vast and many, and she left, poorer certainly than when she had come in the store.”

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“Garbo is lonely. She always has been and she always will be. She lives in the core of a vast aching aloneness. She is a great artist, but it is both her supreme glory and her supreme tragedy that art is to her the only reality. The figures of living men and women, the events of everyday existence, move about her, shadowy, unsubstantial. It is only when she breathes the breath of life into a part, clothes with her own flesh and blood the concept of a playwright, that she herself is fully awake, fully alive.”

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“Edie thought Joan was the most intelligent girl she had ever met. She had an independent mind, always questioning what anyone said, including her teachers at Barnard. In one of her marginal notes in her copy of Marx's Capital and Other Writings, there are echoes of Burroughs's thinking: "Maybe Marxism is dynamic and optimistic, and Freudianism is not. Is one more serviceable than the other? Why does it always have to be either/or?”

Joan Vollmer (1923–1951) Common-law wife of William S. Burroughs

Ted Morgan, Literary Outlaw, discusses Edie Parker's impression of Joan Vollmer:
About

“You wonder about her crime. She was condemned
to death for stealing clothes from her employer, from
the wife of her employer. She wished to make herself
more beautiful. This desire in servants was not legal.”

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Selected Poems 1976-1986 (1987), Marrying the Hangman

“She is the sum of nature's universe.
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Source: La Vita Nuova (1293), Chapter XIV, lines 49–50 (tr. Barbara Reynolds)

“When she comes
She pulls you close
She breathes in short bursts
Her eyes close
Her head tilts back
Her mouth opens slightly
Her thighs turn to steel, and then melt
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And you feel like you are everything.”

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Source: The Portable Henry Rollins

“The stereotype is the Eternal Feminine. She is the sexual object sought by all men, and all women. She is of neither sex for she herself has no sex at all. Her value is solely attested by the demand she excites in others. All she must contribute is her existence. She need achieve nothing, for she is the reward of achievement. She need never give positive evidence of her moral character because virtue is assumed from her loveliness, and her passivity.”

Germaine Greer book The Female Eunuch

The Stereotype
The Female Eunuch (1970)

“On Ventura, there she goes
She just bought some bitch'n clothes
Tosses her head n flips her hair
She got a whole bunch of nothin in there”

Frank Zappa (1940–1993) American musician, songwriter, composer, and record and film producer

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“Today this young woman -The Garbo as she is known - is the most glamorous figure in the whole world; there is no one with a more magnetic, romantic or exotic personality, there never has been a film star with so wide an appeal… Greta Garbo is Queen of Hollywood, her salary is fabulous, her word law. She has pointed features in a round face, her mouth is wide and knife-like. Her teeth are large and square and like evenly matched pearls; her eyes are pale, with lashes so long that when she lowers her lids they strike her cheeks; her complexion is of an unearthly whiteness and so delicate that she looks to have one layer of skin less than other people, and the suspicion of a frown is sooner perceptible.”