bob dylan and patti smith or how myths end up assaulting literature. because today these two greats of music who wrote the notes of generations and generations in the changing 20th century, are now legends who make their books transcendental visions of our world from the staff to the pages.
but although it is dylan who ended up surprising everyone by winning the nobel prize for literature in 2016, it is patty smith who has turned to literature to a greater extent as a new crucible in which to melt your already more mature concerns; where to share your memories of the days of punk and roses; or simply where to exploit the valuable narrative imprint of him.
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with its punk origins and its subsequent harmony with all that beat movement of the keoruac and company, there is no doubt that patti smith’s books are impregnated with that point of rebellious, critical ideology, perhaps all disguised as a certain hedonism. in any case, everything has already been sifted by that residue of the passing of the years that complements the ideological with the melancholic.
the 3 best books recommended by patti smith
devotion
if there were awards for iconic figures in the music world, two of the most prestigious accolades of the 20th century would go to david bowie for the male side and patti smith for the female side . being an icon or symbol in the musical goes far beyond musical notes, compositions and lyrics.
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In the turbulent years of the mid-twentieth century onwards, after major conflicts and in the midst of cold wars and decentralized conflicts that continue to this day, musical idols had the power to generate currents of opinion, followers aesthetically and ideologically. bowie was a brutal, powerful, transformational and irreverent character. patti smith did the same but with the greater need for women’s demands.
and also, patti smith liked to write, transferring art and background from the musical to the literary. His literature likes as a common thread, references to French poetry as well as the existentialism of authors such as Camus.
on many occasions the writer discovers that it is anecdotal. a parisian hotel room, a sofa bed and a television where patti discovers ice dancing by an experienced figure skater. beauty can push writing and, paradoxically, beauty also reveals melancholy, sadness and obsessions, but patti continues to compose a kind of improvised literature that she has continued to this day.
In this devotion to the book we find an ideology of the writer’s motives that we all carry within. only the perspective of the legendary character permeates the entire composition. the perspective of patti smith, the rebellious woman who went from the androgynous appearance (even in her broken voice) of her punk beginnings, to the powerful transformative commitment of music offers another scope to the writing, especially as we learn more concerns. deep, perhaps those that never fit into the lyrics of the songs, those that freed from the necessary lyrical fit, awaken in a prose that, however, ends up caressing another type of musical chords that are perfectly in tune with the soul.
we were kids
There has been a lot of talk about Patti Smith’s relationship with photographer Robert Mapplethorpe. Of course, the typical was not going to be established in their relationship and less in the most intimate aspects of it.
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but out of rarity it ends up establishing a relationship between masters that bears fruit in a creative universe around the most emblematic New York of the 1960s and 1970s. it was the summer that coltrane died… the hippies raised their empty arms and the porcelain detonated the hydrogen bomb. jimi hendrix set his guitar on fire in monterey…it was the summer of love. and in that changing and inhospitable climate, a chance meeting changed the course of my life: it was the summer i met robert mapplethorpe.it was july 1967 and they were children, but from then on patti smith and robert mapplethorpe sealed a friendship that would be It will only end with the death of the great photographer, in 1989.
That’s what this splendid memoir is about, the life together of these artists, enthusiastic and passionate at the same time, who strode through the outskirts of new york to reach the nerve center of new art. Thus they ended up settling in the chelsea hotel and became the protagonists of a world already lost where allen ginsberg, andy warhol and their boys reigned, and the great music bands that marked the last years of the 21st century were created, while AIDS was furious.
year of the monkey
the biographical as a point from which to explore personally while the myth falls apart for the general public. if in “we were children” we undertake the journey to that land of privileged memories of a living legend, this time the journey is instantly, to the now. and in the matter there is a lot of brutal sincerity, of recognition of every human fall in old age, in the discovery of the tinsel that always seemed like gold. As I looked at my image on the mercury gray surface of the toaster, I noticed that it looked young and old at the same time.
It’s two in the morning on New Year’s Eve 2015 when Patti Smith arrives at the Dream Motel, next to Santa Cruz Beach, after giving a concert at the legendary Fillmore Room in San Francisco. she just turned seventy. On the first morning of the year, she goes for a walk and picks up her first polaroid of the hotel sign, with which she has a lucid conversation, like a modern-day Alice in her own particular wonderland. the talk inspires him with some verses and he decides to go back to her room, from whose terrace she listens to the waves and thinks of her friend sandy pearlman, the famous music producer, who has been in a coma for two days.
He was the person who suggested to her in her youth that she start a rock band. thus begins a journey through places such as the west coast, the arizona desert, manhattan or kentucky, but also through remembered or imagined places, the outside world and the inside, in which patti smith allows us to wander by her side as her closest companions . intimate.
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