There was a time when Whitney Houston “sang better than any pop star we’d ever heard, and became more famous than virtually any Black woman in any domain.” Emily Lordi makes the point in her fine tribute to the late artist, Holding Lightning: The Life, Loves, and Art of Whitney Houston (Mariner Books, Sept. 29). The author of three other books on Black music and literature, Lordi also argues that Houston was “ironically obscured by her own hypervisibility and world-altering talent”—thus the strength of her biography, which delves into her subject’s complicated life story. Lordi answered our questions by email.
As you researched your book, what did you learn that surprised you the most?
As someone who grew up loving Whitney Houston’s music but inherited the cultural narrative of her simple rise and fall, I was continually struck by her depth and complexity. In her last interview with Oprah Winfrey, from 2009, she describes her fraught marriage to Bobby Brown by quoting Scripture: “What God put together let no man tear asunder.” Here was a woman whose relationship had been reduced to a tabloid caricature, explaining its persistence as a matter of faith.
What inspired you during the writing of the book?
Whitney was a student of culture, from theater to fashion to film, so I immersed myself in works that inspired her: records by her idol Chaka Khan; musicals like The Wiz and Sparkle. I read memoirs by, and spoke with, people in her inner circle, and I traveled to key sites—from her church in Newark, New Jersey, to the Beverly Hills hotel in which she died. What inspired me most was watching videos of her in live performance. Her pianist Bette Sussman told me about one especially epic gig in the early ’90s when she thought, “I am playing with the greatest singer in the world.” I had that feeling, but as a writer.
What are your earliest memories of listening to Whitney Houston?
I was born in 1979, so I remember sitting in the back seat of my parents’ car with my yellow Walkman, age 7 or 8, swooning to ballads like “All at Once” and “You’re Still My Man,” which made the loss of love so beautiful. Even a song like “I Wanna Dance With Somebody” signaled fun laced with danger and risk.
What are your five favorite Whitney Houston songs?
“Love Will Save the Day” (1987), “I’m Your Baby Tonight” (1990), “All the Man That I Need” (1990), “I Love the Lord” (1996), and “My Love Is Your Love” (1998).
What was most challenging about writing this book?
I encountered so many “no’s” when reporting this book—people are protective of Whitney and of their role in her story—that in many cases, I had to trust my own voice and perspective. This now feels like a very “Whitney” lesson in self-belief and resilience. Yet, it was profoundly rewarding to connect with those who did speak freely—a Catholic school friend who remembered Whitney ripping up her detention slips; Mariah Carey, who joined forces with her on a 1998 duet; musicians who recalled her stamina and work ethic.
What books published this year are among your favorites?
I was amazed by Patrick Radden Keefe’s reporting and storytelling in London Falling. I look forward to recent releases by two figures close to Whitney: Arsenio by Arsenio Hall and Phases by Brandy.
John McMurtrie is the nonfiction editor.
