In 50 years since Marilyn Monroe's death, an industry has grown up around her. She is one of most instantly recognisable celebrities of 20th century, endlessly reproduced on posters, T-shirts and even handbags. Monroe means something to a great number of people, but what that might be isn't so easy to define.
The anniversary of night of August 5 in August 1962 when she was found dead in bed offers an irresistible opportunity for fresh readings, informed by pre-occupations of our time. One is meaning of celebrity. In her weighty volume, historian Lois Banner remarks that Monroe was happier with still photographs of herself than her films.
It speaks to an aspect of her character which feels incredibly modern. When narcissism no longer carries a stigma, she is precursor of a stream of celebrities whose most obvious talent is self-promotion. Working with just a photographer she was in control, unlike a film studio where she clashed with directors.
Banner is conscious of Monroe's skill in projecting herself, a "rare genius". It isn't so rare these days, but Banner's purpose lies elsewhere, offering a new interpretation of star's life which draws on feminism and history of gender. It's certainly case that Monroe's story has been handled in past by biographers and critics who don't share that perspective, including novelist Norman Mailer and her ex-husband Arthur Miller. Mailer's book on Monroe is a drooling rehearsal of a particular species of male fantasy, while Miller's play After The Fall presents her as a monster.
Mailer's book is a warning to any woman who aspires to be "new Monroe". The problem with Mailer's interpretation is not that it's wrong but that it cuts off feminist re-readings at knees. Monroe was almost certainly sexually abused as a child, and her vulnerability and eagerness to please were central to her success.
For Mailer, she was embodiment of easy sex, woman who promised that it "might be ... dangerous with others, but ice-cream with her".
Banner's book provides most detailed account yet of Monroe's fractured childhood, identifying 11 families who provided homes for her. Born in 1926 - she would be same age as Queen if she were alive today - Marilyn grew up as Norma Jeane Mortensen. Her mother Gladys gave her name of her second husband, a meter reader called Edward Mortensen, but Monroe always believed her father was Stanley Gifford, a supervisor at Hollywood film studio where Gladys worked.
Neither man played a role in her upbringing, and Norma Jeane moved from one step-family to another as her mother suffered a series of breakdowns. Gladys spent time in mental institutions, leaving Norma Jeane with a lifelong fear that she had inherited her instability.
She spent seven years in California with Ida and Wayne Bolender, evangelical Christians who took in foster children. Banner thinks that significance of religion has been overlooked in Monroe's formative years. The Bolenders believed in sin and redemption, organised nightly Bible readings and took Norma Jeane, aged six, to a dawn service at Hollywood Bowl.
A later foster mother, Ana Lower, introduced her to Christian Science, a mystical religion founded in 1879 by Mary Baker Eddy. Monroe would later convert to Judaism when she married Miller, but religious fervour she encountered as a child infused her nightmares with witches and demons. Nor did it help with guilt she was made to feel when Ida caught her in childish sex experimentation, possibly masturbation, and whipped her for touching "bad part" of her body.
The sexual abuse happened when she was eight years old, after she left Bolenders, and was carried out by an elderly man who has never been firmly identified. Banner sees this episode as a key moment in Norma Jeane's life, producing "dissociation" and her "major alter ego" Marilyn Monroe: an alternative self, "sexual and self-confident".
Obviously, "Marilyn Monroe" was an invention, but Banner's own account of Monroe's relationships with men reads like a catalogue of exploitation and abuse.
Early in her film career, after she was signed by Twentieth Century-Fox in 1946, she became a "party girl" - one of aspiring actresses expected to entertain visiting executives. Banner says that one of things Monroe learned in this period was to be adept at sex, including fellatio. She would later call Hollywood "an overcrowded brothel".
Her film career was chequered, turning into a constant struggle with studio bosses who wanted to keep her in "dumb blonde" role.
Her marriages suggest a powerful need for male affirmation; her first husband was a high-school athlete, her second sporting hero Joe DiMaggio, and her third (Miller) country's pre-eminent intellectual.
It's hard to imagine anyone as damaged as Monroe forming stable relationships but there's also a hint of something which has become common in 21st century, namely short-lived alliances between very famous people who look good together in public.
Banner isn't first feminist to write about Monroe; she was beaten to it by Gloria Steinem, whose 1986 biography is a lovingly-crafted rescue fantasy. But Banner's purpose seems two-fold: to claim Monroe as a kind of pre-feminist icon, and to establish herself as foremost scholar in a crowded field. Her Marilyn is difficult, ironic, insecure, bisexual; she's also clever - far from an original claim.
Banner's biography dispels some myths about Monroe's childhood but sheer quantity of detail is daunting, and her prose is sometimes excruciating.
I'm not convinced that Monroe's life has a positive message for women. As I once observed in another context, her enduring appeal suggests that (some) gentlemen prefer dead blondes.