When Life with Picasso was first published, many reviewers felt it was exaggerated. Gilot was implausibly virtuous; Picasso’s monologues were implausibly long. It was wrong of Gilot to write about their sex life (even though it was evidently fine for Picasso to paint about it). There was too much tittle-tattle and not enough discussion of Picasso’s work or politics. He had brought Gilot fame and shaped her personality; in return she had impugned his generosity and disrespected his pottery by calling the clay he used ‘cheap’. In 1965 more than forty artists, including Miró and Félix Labisse, signed an open letter demanding that the book be banned. Picasso cut off all contact with Claude and Paloma, and took Gilot and Lake’s publisher, Calmann-Lévy, to court for presenting him as ‘sadistic, cruel, proud and double dealing’. But the book was found not to be defamatory: on the contrary, it revealed Picasso to be a man of ‘astonishing interior richness’ and contributed to his glory better than any official biography would have done. The court added that it would be difficult, impossible even, for Gilot to write about her life without some mention of Picasso. In any case, these memories – whether true or not – belonged to her.