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“But since Catt was more realist than fabulist, she understood her actual death at the hands of her killer would be something much slower. It would be a classical feminine death, like a marriage…Raised by meek working-class parents, she despised petty groveling and had no talent for making shit up. She wanted to be a “real” intellectual moving with dizzying freedom between high and low points in the culture. And to a certain extent, she’d succeeded. Catt’s semi-name attracted a following among Asberger’s boys, girls who’d been hospitalized for mental illness, sex workers, Ivy alumnae on meth, and always, the cutters. With her small self-made fortune, Catt saw herself as Moll Flanders, out-sourcing her visiting professorships and writing commissions to younger artists whose work she believed in. But she’d reached a point lately where the same young people she’d helped were blogging against her, exposing the ‘cottage industry’ she ran out of her Los Angeles compound facing the Hollywood sign … the same compound these bloggers had lived in rent-free after arriving from Iowa City, Alberta, New Zealand. Loathing all institutions, Catt had become one herself. Even her dentist asked her for money.” — Chris Kraus