A canny blend of punkish attitude and discographical smarts that blasts boys-club assumptions about pop music.
A wide-ranging assortment of essays and reportage on rock, pop, country, and hip-hop, conscientiously putting women front and center.
The title of Hopper’s book (which revises and expands a 2015 edition) isn’t a brag but rather an air horn announcing a problem: Just as female musicians have been dismissed, marginalized, and abused by a patriarchal industry, Hopper is just one of many women music journalists who was told “it was perverse to tangle up music criticism with feminism or my personal experience.” So being “first” is as much a lament as an assertion, but the best pieces show how thoughtfully the author has used her position. Essays on Liz Phair, Kim Gordon, Miley Cyrus, and Lana Del Rey underscore how the negative “personas” applied to them are often used to obscure and undermine their talent. In one emotionally intense interview, Björk reveals how, more than four decades into her career, she’s had to prove she writes her songs. Hopper elevates underappreciated women-led acts like D.C. punks Chalk Circle and calls out misogyny in the system: Her landmark 2003 essay, “Emo: Where the Girls Aren’t,” chastised the scene for confusing sad-boy sensitivity with proactive feminism, and she reports on women country artists’ oft-futile efforts to gain airplay. The author convincingly argues that staying silent on such inequities has consequences, a point underscored by an interview with journalist Jim DeRogatis on R. Kelly’s track record of sexual assault and music journalists’ turning a blind eye to it. Hopper is stronger as a reporter and cultural observer than a track-by-track reviewer; the collection is padded with reviews that reflect her wide range of tastes but are stylistically flat. However, as she points out in the fiery conclusion, the book exists in part to expose other female writers to what’s possible with diligence and a refusal to compromise. In that regard, it’s essential reading. Samantha Irby provides the foreword.
A canny blend of punkish attitude and discographical smarts that blasts boys-club assumptions about pop music.Pub Date: July 6, 2021
ISBN: 978-0-374-53899-6
Page Count: 448
Publisher: MCD/Farrar, Straus and Giroux
Review Posted Online: April 23, 2021
Kirkus Reviews Issue: May 15, 2021
BOOK REVIEW
A rich book for scholars and fans of Lowell’s poetry.
A collection of the renowned poet’s personal writing.
At the heart of this hodgepodge of Lowell’s work is what editors Axelrod and Kosc call “My Autobiography,” mostly previously unpublished childhood memories written in the 1950s followed by writings about his severe bipolar disorder. Taken together, the editors write, “they tell a powerful story of a soul in pain and a writer searching, with courage and discipline, for a way forward,” and they provided the source material for Lowell’s influential 1959 poetry collection, Life Studies. Highly detailed, lucid, and precise, Lowell’s writing is witty, sarcastic, and revealing about himself, his parents, his beloved grandfather, and others in his orbit. The well-off Bostonian, as the editors put it, wanted “to both mock and mourn his family, his social world, himself.” Some of the writing is tinged with the elitist racism of his clan, a “declining yet still powerful white” family who “insistently disrespect[ed] people who are not ‘of the right sort.’ ” At 8, he recalls, he was “thick-witted, narcissistic, thuggish,” and poet and biographer relative “Amy Lowell was never a welcome subject in our household.” These memoirs end in 1937, followed by a section called “Crisis and Aftermath,” highlighted by “The Balanced Aquarium,” one of the longest pieces, what the editors call “postmodern psychomachy, an invocation of his internal turmoil.” In many pieces, Lowell recounts his mental torments and hospitalization. Composed from 1959 to 1977, the section titled “A Life Among Writers” is a collection of perceptive, image-laced essays, some never published before, of authors he knew: Pound, Eliot, and his “dear old friend” Randall Jarrell. Visiting elderly Tennessee poet Allen Tate, Lowell writes, “Here, like the battered Confederacy, he still lived and was history.” Robert Frost was the “best strictly metered poet in our history.” An acquaintance of Lowell’s, Sylvia Path wrote the “most perfect and powerful poems…among the melancholy triumphs of twentieth-century imagination.”
A rich book for scholars and fans of Lowell’s poetry.Pub Date: Aug. 2, 2022
ISBN: 978-0-374-25892-4
Page Count: 464
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 9, 2022
Kirkus Reviews Issue: June 1, 2022
BOOK REVIEW
A captivating, redemptive chronicle of a year in which Smith looked intently into the abyss.
This chronicle of a chaotic year filled with deep losses and rich epiphanies finds the writer and performer covering a whole lot of ground.
In terms of the calendar, Smith’s latest memoir has a tighter focus than its predecessors, M Train (2015) and Just Kids (2010), which won the National Book Award. The titular year is 2016, a year that would begin just after the author turned 69 and end with her turning 70. That year, Smith endured the death of her beloved friend Sandy Pearlman, the music producer and manager with whom she would “have coffee at Caffé Trieste, peruse the shelves of City Lights Bookstore and drive back and forth across the Golden Gate listening to the Doors and Wagner and the Grateful Dead”; and the decline of her lifelong friend and kindred spirit Sam Shepard. She held vigil for Pearlman at his hospital deathbed, and she helped Shepard revise his final manuscript, taking dictation when he could no longer type. Throughout, the author ponders time and mortality—no surprise considering her milestone birthday and the experience of losing friends who have meant so much to her. She stresses the importance of memory and the timeless nature of a person’s spirit (her late husband remains very much alive in these pages as well). Seeing her own reflection, she thinks, “I noticed I looked young and old simultaneously.” She refers to herself as the “poet detective,” and this particular year set her on a quixotic quest, with a mysterious companion unexpectedly reappearing amid a backdrop of rock touring, lecture touring, vagabond traveling, and a poisonous political landscape. “I was still moving within an atmosphere of artificial brightness with corrosive edges,” she writes, “the hyperreality of a polarizing pre-election mudslide, an avalanche of toxicity infiltrating every outpost.”
A captivating, redemptive chronicle of a year in which Smith looked intently into the abyss.Pub Date: Sept. 24, 2019
ISBN: 978-0-525-65768-2
Page Count: 192
Publisher: Knopf
Review Posted Online: June 24, 2019
Kirkus Reviews Issue: July 15, 2019
SEEN & HEARD
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