Patricia Highsmith’s early diaries, with all their passions and reversals, reveal the writer’s abiding conviction in her worth as an artist and an individual.
,” murder is the red velvet curtain rising on Tom’s next act, and money keeps the lights on. Highsmith’s own melodrama in New York City is fuelled not just by the pressure to pay rent and make art but by sex and love as well. Here, Highsmith’s precocious volatility and ambivalences are on full display. In a typical entry, Highsmith writes, “I phoned Chloe at 10:00 with the message that ‘I’m crazy in love with you.’ Which was true at 10 o’clock, nonetheless.” Certain questions resurface often.
Adrift on such violently contradictory emotions, Highsmith’s diary entries seem straightforward, even axiomatic, when looked at in isolation, but together they inspire a sharp sense of suspense. They’re a social calendar written in the style of a noir, with Highsmith never failing to come off as both femme fatale and starched-shirt detective.
In middle age, Highsmith became increasingly reactionary. During her youth, she had flirted with antisemitism, noting in her diaries with a hint of exoticism that many of her friends in New York were Jewish. As she grew older, that flirtation became a marriage festering with insults and resentments.
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