- Hardcover: 320 pages
- Publisher: Simon & Schuster Ltd (26 Oct 1999)
- Language English
- ISBN-10: 0684823632
- ISBN-13: 978-0684823638
- Product Dimensions: 23.4 x 15.5 x 2.8 cm
- Average Customer Review: 2.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 2,578,345 in Books (See Top 100 in Books)
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Product Description
Amazon.co.uk Review
Victor Bockris is now best known for his studies of Muhammad Ali, William Burroughs, and Andy Warhol, but a In an earlier incarnation he was responsible for publishing a book of poems entitled Seventh Heaven by a young unknown named Patti Smith. He's therefore well placed to chart the rise of that fledging poet as she turned to music, recorded the timeless 1975 album Horses, and became the instantly familiar, thrillingly gaunt face of New York's artsy version of punk.
Bockris knows 1970s Manhattan Bohemia like the back of his hand, and Patti Smith provides the perfect entree. When your lovers include playwright Sam Shepard and legendary musos Tom Verlaine and Todd Rundgren, and your flatmate's a 19-year-old wannabe named Robert Mapplethorpe, there's plenty to write home about. But Smith soon dropped out in favour of a family life in the suburbs of Detroit, bringing up two children, and supporting her husband (MC5 guitarist Fred "Sonic" Smith) until his death from alcohol in 1994. In so doing, as one wit put it, "She managed to be a rock'n'roll death without having to die."
Quoting extensively from eyewitness accounts of Smith in performance, Bockris captures something of the intensity of this remarkable artist, and contributes in no small part to her current reincarnation. --Alan Stewart --This text refers to an out of print or unavailable edition of this title.
Review
"Q Magazine" The definitive account of Smith's sporadic, hugely influential achievement.
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From an early age, Patti Smith exhibited many of the characteristics that would be the hallmarks of her artistic persona: a wild and unpredictable imagination, a contentious relationship with religion, and a rebelliousness against conformity and traditional gender roles. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
From an early age, Patti Smith exhibited many of the characteristics that would be the hallmarks of her artistic persona: a wild and unpredictable imagination, a contentious relationship with religion, and a rebelliousness against conformity and traditional gender roles. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Customer Reviews
Most Helpful Customer Reviews
6 of 6 people found the following review helpful
Format:Paperback
I'm a huge fan of 'Horses', so i thought this book would be a good read. Unfortunately, Bockris seems to write with little enthusiasm and offers few insights into the complexities of Smiths life. Reading it, you can tell that there was a good story to come out, set in a great period of New York's musical life. Yet while I didn't want to read a book that fawned over Smith, Bockris seems to be simply going through the motions, like working to a work deadline that he could do without. Having read this book I feel as if I know even less about Smith then before I started, because the book killed all the instincts I built up listening to her albums. Stick to her music.
Most Helpful Customer Reviews on Amazon.com (beta)
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14 reviews
16 of 18 people found the following review helpful
Not a complete waste of time, but not really a bio.
12 May 2001
Format:Hardcover
I confess that when I first browsed through this book over a year ago, I really didn't like it. It seemed like quite a hostile work, and I put down a lot of the apparent bias to Bockris also being Deborah Harry's biographer and the Smith-Harry relationship, such as it ever was, being one of oil and water. However. On rereading, this book doesn't look as bad as all that. Smith won't enjoy reading it, but it certainly does not trash her--the clips and quotes from her most demented phases are kept to a minimum and the balance of what people have to say about her to this biographer is respectful, if somewhat baffled. There is a great deal of overlap between this treatment of Smith and Patricia Morrissey's far more detailed and professional biography of Robert Mapplethorpe, the Diego Rivera to Smith's Frida Kahlo. If one reads it as a supplement to that book, rounding out the picture of Smith as professional acquaintances and non-intimate friends saw her, the result is reasonably consistent. This in itself is an achievement. Bockris does not exactly get inside Smith's head, but that may be an impossibility for anyone other than Smith; she comes across as a powerful but fragmented personality. And this may be the mark of the born performer, the man or the woman with a sixth sense for their effect on others but little cohesive sense of self in private, giving them the talent for battening onto any symbols that project (and supply) their personal subjectivity, and fueling the combination of selflessness and narcissism that allows a person to take the blows on the path to fame. Smith's peculiar genius--the word is not too strong--is that of a long line of American artists who have been able to take this aspect of their personalities and use it to mirror the intense ambition, puritanism, fragmentation, and self-consciousness that typify the American character. She may have been obsessed with foreign influences--what American isn't?--but her unique talent was to be in some measure conscious of the source of this obsession, and use it, at her best, actually to find and channel links between the dementia of all nations and an indigenous spiritual lineage going back to John Brown at least. And as a working-class hero from the Rust Belt, her obsession with transcendence parallels that of a country whose greatest appeal and danger lies in the promise it holds out of being able to transcend one's origins--not to rise above them, but to bring them to a higher level, through a combination of courage, vision, and Napoleonic megalomania. Patti Smith remains dangerous long after punk has ceased to be; she remains dangerous because America does.
The trouble is that Smith's fans already know all this, and consequently there is only limited interest in hearing one more anecdote about the artist's eccentricities or one more piece of speculation about how she got that way. This book is not really a biography in the usual sense. It amounts to a superior compilation of stories and press clippings, most of which are not salacious (Smith always wanted you to believe she was bigger and badder than she was). But in the absence of the context provided by testimony from family members and others who know Smith best, and who naturally are not talking, the one or two pieces of interesting information sound like a tease and take on a pejorative quality. This effect can be observed in the little that we get to know about Fred Smith, Patti's late husband and, after Mapplethorpe, the biggest influence on her life and work. There is no doubt that his American populist aesthetic harmonized with hers, and may have rescued her from the manic "Radio Ethiopia" kitsch into which she was disappearing at the time of a near-fatal accident (she danced off a stage) that temporarily stymied her career. But depending on who you talk to, Fred Smith was either a kind and considerate husband, or a creep who stopped his wife's career, crushed her spirit, may have belted Patti around. The anecdotes to either effect are just that, anecdotes, and do not transcend the feeling of being breaches of privacy. And what does anyone mean by charging that the two albums Patti cut in the wake of his death are "careerist" or "professional mourning," just because he may not always have been good for her and she still misses him deeply? Sheesh.
The true biography of Patti Smith remains to be written. As for most important artists, it may need to wait till she is gone: Smith guards her privacy closely and there's no reason why she shouldn't. But by all means, read this one: it will take you back. And the pictures are good.
8 of 9 people found the following review helpful
Bockris and Bayley Commit Literary Character Assination
2 April 2000
Format:Hardcover
What a piece of garbage! Bockris and Bayley do here for Patti what Kitty Kelley did for Sinatra. Just about every occurence is Smith's life and work is judged by these two as careerist and manipulative, so unfortunately, this book is in no way the fair or balanced account that Smith fans had hoped for.
These two are even shameless enough to admit that the bulk of information provided by the book comes from interviews that Patti did with other people throughout her career. My guess is that one would come away much more informed by searching out the originals and seeing what Patti had to say in the proper context.
7 of 8 people found the following review helpful
Huh?
20 Nov 2001
Format:Hardcover
For two people so associated w/punk rock music, it seems odd that Victor Bockris and Roberta Bayley could have written such a tepid account of Patti Smith. This book relies heavily on published interviews and sensationalistic accounts of her life that Patti has given to journalists over the years. Bockris and Bayley paint her as controlling in some instances and a pushover in others, often in their attempts to discover her motivations. Not only that, but could they have chosen a more unattractive photo of Patti to adorn the book jacket? Patti had nothing to do w/this book and if you want the real deal, buy her collections of poetry, Early Work and The Coral Sea, and her complete lyric collection, which has tons of photos and some of Patti's journal notes from over the years.
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