Mitchell deserves more musically sophisticated treatment, though this is serviceable enough as a straight fan-notes homage....
A new biography of the luminous folk singer and musical icon.
If you don’t already believe that Joni Mitchell (b. 1943) is a genius without peer, you might have a hard time making the case from this effusive book, long on gossip but short on analysis, except of a kind of ethereal quality. As Yaffe (English/Syracuse Univ.; Bob Dylan: Like a Complete Unknown, 2011, etc.) writes, “Joni may have felt that she was the lone member of the Canadian lunatic generation, but it was her destiny to alchemize all that loneliness into music that made people feel they were not alone.” Meaning, one supposes, that Mitchell, nee Roberta Joan Anderson, wrote songs geared to sensitive people that amounted to a corpus that, as David Crosby once proclaimed, “was the highest quality of songwriting that I’d run into. I liked her better than Dylan or anybody.” Yaffe’s book is a useful appreciation, but it doesn’t delve enough into the whys and wherefore of that songwriting and its high quality—why an odd open tuning mixed with onrushing lyrics should alchemize into something like “Coyote,” say, though we do learn that there was a lot of sex and cocaine in LA in the 1970s and that Jackson Browne and James Taylor may not be the nice guys their public images suggest. “Even if cocaine fueled some of Hejira’s powerful songs,” writes Yaffe, “the clarity of going off coke produced other songs that came from a different and equally compelling kind of power.” That’s a soufflé of a sentence, and, like so much of the book, it needs more grounding in Mitchell’s actual work and at a deeper level than, for example, “it is on the bridge about the ‘lonesome blues’ that the chords get interesting.”
Mitchell deserves more musically sophisticated treatment, though this is serviceable enough as a straight fan-notes homage. Readers wanting to go deeper into the art would do better to start with Malka Marom’s Joni Mitchell: In Her Own Words (2014).Pub Date: Oct. 17, 2017
ISBN: 978-0-374-24813-0
Page Count: 448
Publisher: Sarah Crichton/Farrar, Straus and Giroux
Review Posted Online: Aug. 20, 2017
Kirkus Reviews Issue: Sept. 1, 2017
BOOK REVIEW
Riveting and exquisitely crafted.
Musician, poet and visual artist Smith (Trois, 2008, etc.) chronicles her intense life with photographer Robert Mapplethorpe during the 1960s and ’70s, when both artists came of age in downtown New York.
Both born in 1946, Smith and Mapplethorpe would become widely celebrated—she for merging poetry with rock ’n’ roll in her punk-rock performances, he as the photographer who brought pornography into the realm of art. Upon meeting in the summer of 1967, they were hungry, lonely and gifted youths struggling to find their way and their art. Smith, a gangly loser and college dropout, had attended Bible school in New Jersey where she took solace in the poetry of Rimbaud. Mapplethorpe, a former altar boy turned LSD user, had grown up in middle-class Long Island. Writing with wonderful immediacy, Smith tells the affecting story of their entwined young lives as lovers, friends and muses to one another. Eating day-old bread and stew in dumpy East Village apartments, they forged fierce bonds as soul mates who were at their happiest when working together. To make money Smith clerked in bookstores, and Mapplethorpe hustled on 42nd Street. The author colorfully evokes their days at the shabbily elegant Hotel Chelsea, late nights at Max’s Kansas City and their growth and early celebrity as artists, with Smith winning initial serious attention at a St. Mark’s Poetry Project reading and Mapplethorpe attracting lovers and patrons who catapulted him into the arms of high society. The book abounds with stories about friends, including Allen Ginsberg, Janis Joplin, William Burroughs, Sam Shepard, Gregory Corso and other luminaries, and it reveals Smith’s affection for the city—the “gritty innocence” of the couple’s beloved Coney Island, the “open atmosphere” and “simple freedom” of Washington Square. Despite separations, the duo remained friends until Mapplethorpe’s death in 1989. “Nobody sees as we do, Patti,” he once told her.
Riveting and exquisitely crafted.Pub Date: Jan. 19, 2010
ISBN: 978-0-06-621131-2
Page Count: 304
Publisher: Ecco/HarperCollins
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Dec. 1, 2009
PERSPECTIVES
PERSPECTIVES
SEEN & HEARD
If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.
The authors have created a sort of anti-Book of Virtues in this encyclopedic compendium of the ways and means of power.
Everyone wants power and everyone is in a constant duplicitous game to gain more power at the expense of others, according to Greene, a screenwriter and former editor at Esquire (Elffers, a book packager, designed the volume, with its attractive marginalia). We live today as courtiers once did in royal courts: we must appear civil while attempting to crush all those around us. This power game can be played well or poorly, and in these 48 laws culled from the history and wisdom of the world’s greatest power players are the rules that must be followed to win. These laws boil down to being as ruthless, selfish, manipulative, and deceitful as possible. Each law, however, gets its own chapter: “Conceal Your Intentions,” “Always Say Less Than Necessary,” “Pose as a Friend, Work as a Spy,” and so on. Each chapter is conveniently broken down into sections on what happened to those who transgressed or observed the particular law, the key elements in this law, and ways to defensively reverse this law when it’s used against you. Quotations in the margins amplify the lesson being taught. While compelling in the way an auto accident might be, the book is simply nonsense. Rules often contradict each other. We are told, for instance, to “be conspicuous at all cost,” then told to “behave like others.” More seriously, Greene never really defines “power,” and he merely asserts, rather than offers evidence for, the Hobbesian world of all against all in which he insists we live. The world may be like this at times, but often it isn’t. To ask why this is so would be a far more useful project.
If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.Pub Date: Sept. 1, 1998
ISBN: 0-670-88146-5
Page Count: 430
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1998
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
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