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Just Kids: An Autobiography Paperback – Deckle Edge, November 2, 2010
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WINNER OF THE NATIONAL BOOK AWARD
“Reading rocker Smith’s account of her relationship with photographer Robert Mapplethorpe, it’s hard not to believe in fate. How else to explain the chance encounter that threw them together, allowing both to blossom? Quirky and spellbinding.” -- People
It was the summer Coltrane died, the summer of love and riots, and the summer when a chance encounter in Brooklyn led two young people on a path of art, devotion, and initiation.
Patti Smith would evolve as a poet and performer, and Robert Mapplethorpe would direct his highly provocative style toward photography. Bound in innocence and enthusiasm, they traversed the city from Coney Island to Forty-Second Street, and eventually to the celebrated round table of Max’s Kansas City, where the Andy Warhol contingent held court. In 1969, the pair set up camp at the Hotel Chelsea and soon entered a community of the famous and infamous, the influential artists of the day and the colorful fringe. It was a time of heightened awareness, when the worlds of poetry, rock and roll, art, and sexual politics were colliding and exploding. In this milieu, two kids made a pact to take care of each other. Scrappy, romantic, committed to create, and fueled by their mutual dreams and drives, they would prod and provide for one another during the hungry years.
Just Kids begins as a love story and ends as an elegy. It serves as a salute to New York City during the late sixties and seventies and to its rich and poor, its hustlers and hellions. A true fable, it is a portrait of two young artists’ ascent, a prelude to fame.
- Print length320 pages
- LanguageEnglish
- Publication dateNovember 2, 2010
- Dimensions0.9 x 5.4 x 8.2 inches
- ISBN-100060936223
- ISBN-13978-0060936228
Book recommendations, author interviews, editors' picks, and more. Read it now
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From the Publisher
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Editorial Reviews
Review
“[Just Kids] reminds us that innocence, utopian ideals, beauty and revolt are enlightenment’s guiding stars in the human journey. Her book recalls, without blinking or faltering, a collective memory ― one that guides us through the present and into the future.” — Michael Stipe, Time magazine
“Reading rocker Smith’s account of her relationship with photographer Robert Mapplethorpe, it’s hard not to believe in fate. How else to explain the chance encounter that threw them together, allowing both to blossom? Quirky and spellbinding.” — People, Top 10 Books of 2010
“The most enchantingly evocative memoir of funky-but-chic New York in the late 1960s and early 1970s that any alumnus has yet committed to print.” — Janet Maslin's top 10 books of 2010, New York Times
“Composed of incandescent sentences more revelatory than anything from Patti Smith’s poems or songs, her romantic memoir also reveals what blunt narrative instruments the earlier career bios of her and photographer Robert Mapplethorpe have been.” — Village Voice, Best Books of 2010 Round-Up
“Smith’s beautifully crafted love letter to her friend Robert Mapplethorpe functions as a memento mori of a relationship fueled by passion for art and writing. Her elegant eulogy lays bare the chaos and the creativity so embedded in that earlier time and in Mapplethorpe’s life and work.” — Publishers Weekly, Top Ten Books of the Year
“Poetically written and vividly remembered. [Smith] reminded me of the idealism of art.” — Matthew Weiner, creator of MAD MEN, in New York magazine
“A spellbinding portrait of bohemian New York in the late 1960s and early ‘70s.” — New York Times Book Review, Paperback Row
“One of the best things I’ve ever read in my life.” — Don Imus
“Sometimes there is justice in the world. That was my first thought when I heard that Patti Smith had won the National Book Award this fall for her glorious memoir, Just Kids.” — Maureen Corrigan's favorite books of 2010, NPR's Fresh Air
“[JUST KIDS] offers a revealing account of the fears and insecurities harbored by even the most incendiary artists, as well as their capacity for reverence and tenderness.” — USA Today
“Smith’s writing about her early days with Mapplethorpe is fervid and incantatory but never falls into incoherence.” — The Oregonian (Portland)
“A heartbreakingly sweet recollection of just that sort of vanished Bohemian life...Just as [Smith] stands out as an artiste in a movement based on collectivism, her singular voice gleams among rock memoirs as a work of literature.” — Boston Globe
“Just Kids shows how Smith integrated the romance of her twenty-year friendship with Mapplethorpe with her historical preoccupations, elevating them to an almost sacred status. The past, for Smith, has always driven her life forward. If only we could all be so free-spirited.” — The Rumpus
“Patti Smith’s telling of the years she spent with Robert Mapplethorpe is full of optimism sprinkled with humor...JUST KIDS...is sorely lacking in irony or cynicism; Smith’s worldview is infectious. She’s a jumble of influences, but that’s part of her charm.” — Austin American-Statesman
“A moving portrait of the artist as a young woman, and a vibrant profile of Smith’s onetime boyfriend and lifelong muse, Robert Mapplethorpe, who died of AIDS in 1989...JUST KIDS is ultimately a wonderful portal into the dawn of Smith’s art.” — Los Angeles Times
“A remarkable book --sweet and charming and many other words you wouldn’t expect to apply to a punk-rock icon.” — Newsday
” A story of art, identity, devotion, discovery, and love, the book is [Smith’s] first prose work...[it] conjures up the passionate collaboration--as lovers, friends, soul mates, and creators--that she and Mapplethorpe embarked on from the summer they met in Brooklyn in 1967.” — Elle
“Deeply affecting...a vivid portrayal of a bygone New York that could support a countercultural artistic firmament...the power of this book comes from [Smith’s] ability to recall lucid memories in straightforward prose.” — BookForum
“Funny, fascinating, oddly tender.” — O, The Oprah Magazine
“Patti Smith’s memoir of her youth with Robert Mapplethorpe testifies to a rare and ferocious innocence...’Just Kids’ is a book utterly lacking in irony or sophisticated cynicism.” — Salon.com
“A shockingly beautiful book...a classic, a romance about becoming an artist in the city, written in a spare, simple style of boyhood memoirs like Frank Conroy’s ‘Stop Time.’” — New York Magazine
“[A] beautifully crafted love letter to [Robert Mapplethorpe]...Smith transports readers to what seemed like halcyon days for art and artists in New York...[a] tender and tough memoir...[an] elegant eulogy.” — Publishers Weekly (starred review)
“Riveting and exquisitely crafted.” — Kirkus Reviews (starred review)
“Captivating....a poignant requiem...and a radiant celebration of life. Grade: A.” — Entertainment Weekly
“More than 30 years after its release, Horses still has the power to shock and inspire young musicians to express themselves with unbridled passion. Now she brings the same raw, lyrical quality to her first book of prose.” — Clive Davis, Vanity Fair
“In the end, [JUST KIDS is] not just an ode to Mapplethorpe, but a love letter to New York City’s ‘70s art scene itself.” — Time Out New York
“The most compelling memoir by a rock artist since Bob Dylan’s ‘Chronicles: Volume One,’ written with intimacy and grace....” — Chicago Tribune
“Astonishing on many levels, most notably for Smith’s lapidary prose....[JUST KIDS] is simply one of the best memoirs to be published in recent years: inspiring, sad, wise and beautifully written.” — San Francisco Chronicle
“[JUST KIDS] is funny and sad but always exhilarating.” — Tampa Tribune
“Terrifically evocative and splendidly titled...the most spellbinding and diverting portrait of funky-but-chic New York in the late ’60s and early ’70s that any alumnus has committed to print....This enchanting book is a reminder that not all youthful vainglory is silly; sometimes it’s preparation.” — New York Times Book Review
“A touching tale of love and devotion.” — Lisa Ko, author of The Leavers
“JUST KIDS describes [Smith and Mapplethorpe’s] ascent with a forthright sweetness that will ring true to anyone who knows her work.” — Bloomberg.com
“To read JUST KIDS is to be struck by how powerfully the two, especially Smith, believed in the power of art....Despite her music’s angry clamor, despite his sometimes revolting images, Smith and Mapplethorpe retain, in her telling, a primal, childlike innocence.” — Dallas Morning News
“One of the best books ever written on becoming an artist...Jesus may have died for somebody’s sins, but Patti Smith lives and writes and sings for all of us.” — Washington Post
“Remarkable, evocative... JUST KIDS is more than just a gift to [Smith’s] ex-lover; it’s a gift to everyone who has ever been touched by their art, and to everyone who’s ever been in love. Like the best of Smith’s music and Mapplethorpe’s art, this book is haunting and unforgettable.” — NPR Boston
“A revelation. In a spellbinding memoir as notable for its restraint as for its lucidity, its wit as well as its grace, Smith tells the story of how she and Robert Mapplethorpe found each other... beautifully crafted, vivid, and indelible.” — Booklist
“An utterly charming, captivating, intimate portrait of a late 1960s and early 1970s period of intense artistic ferment in downtown Manhattan significantly shaped and keenly observed by rock firebrand Smith.” — Philadelphia Inquirer
“Smith lovingly depicts the denizens of the Chelsea Hotel - is that Janis Joplin at the bar? - and the rock club CBGB, all the while pondering how to be an uncompromising artist who nonetheless needs to pay the rent.” — Boston Globe
“Possibly the most spellbinding account of New York in the ‘70’s ever written." — Dua Lipa
From the Back Cover
It was the summer Coltrane died, the summer of love and riots, and the summer when a chance encounter in Brooklyn led two young people on a path of art, devotion, and initiation.
Patti Smith would evolve as a poet and performer, and Robert Mapplethorpe would direct his highly provocative style toward photography. Bound in innocence and enthusiasm, they traversed the city from Coney Island to Forty-second Street, and eventually to the celebrated round table of Max's Kansas City, where the Andy Warhol contingent held court. In 1969, the pair set up camp at the Hotel Chelsea and soon entered a community of the famous and infamous—the influential artists of the day and the colorful fringe. It was a time of heightened awareness, when the worlds of poetry, rock and roll, art, and sexual politics were colliding and exploding. In this milieu, two kids made a pact to take care of each other. Scrappy, romantic, committed to create, and fueled by their mutual dreams and drives, they would prod and provide for one another during the hungry years.
Just Kids begins as a love story and ends as an elegy. It serves as a salute to New York City during the late sixties and seventies and to its rich and poor, its hustlers and hellions. A true fable, it is a portrait of two young artists' ascent, a prelude to fame.
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
Just Kids
By Patti SmithEcco
Copyright © 2011 Patti SmithAll right reserved.
ISBN: 978-0-06-093622-8
Chapter One
When I was very young, my mother took me for
walks in Humboldt Park, along the edge of the Prairie
River. I have vague memories, like impressions on glass plates, of
an old boathouse, a circular band shell, an arched stone bridge. The
narrows of the river emptied into a wide lagoon and I saw upon its
surface a singular miracle. A long curving neck rose from a dress of
white plumage.
Swan, my mother said, sensing my excitement. It pattered the
bright water, flapping its great wings, and lifted into the sky.
The word alone hardly attested to its magnificence nor conveyed the
emotion it produced. The sight of it generated an urge I had no words
for, a desire to speak of the swan, to say something of its whiteness, the
explosive nature of its movement, and the slow beating of its wings.
The swan became one with the sky. I struggled to find words to
describe my own sense of it. Swan, I repeated, not entirely satisfied,
and I felt a twinge, a curious yearning, imperceptible to passersby, my
mother, the trees, or the clouds.
I was born on a Monday, in the North Side of Chicago during the
Great Blizzard of 1946. I came along a day too soon, as babies born
on New Year?s Eve left the hospital with a new refrigerator. Despite
my mother?s effort to hold me in, she went into heavy labor as the
taxi crawled along Lake Michigan through a vortex of snow and
wind. By my father?s account, I arrived a long skinny thing with
bronchial pneumonia, and he kept me alive by holding me over a
steaming washtub.
My sister Linda followed during yet another blizzard in 1948.
By necessity I was obliged to measure up quickly. My mother took
in ironing as I sat on the stoop of our rooming house waiting for
the iceman and the last of the horse-drawn wagons. He gave me
slivers of ice wrapped in brown paper. I would slip one in my
pocket for my baby sister, but when I later reached for it, I discov-
ered it was gone.
When my mother became pregnant with my brother, Todd,
we left our cramped quarters in Logan Square and migrated to
Germantown, Pennsylvania. For the next few years we lived in
temporary housing set up for ser-vicemen
and their children?
whitewashed barracks overlooking an abandoned field alive with
wildflowers. We called the field The Patch, and in summertime the
grown-ups would sit and talk, smoke cigarettes, and pass around
jars of dandelion wine while we children played. My mother taught
us the games of her childhood: Statues, Red Rover, and Simon Says.
We made daisy chains to adorn our necks and crown our heads. In
the evenings we collected fireflies in mason jars, extracting their
lights and making rings for our fingers.
My mother taught me to pray; she taught me the prayer her
mother taught her. Now I lay me down to sleep, I pray the Lord my soul
to keep. At nightfall, I knelt before my little bed as she stood, with her
ever-present cigarette, listening as I recited after her. I wished noth-
ing more than to say my prayers, yet these words troubled me and
I plagued her with questions. What is the soul? What color is it? I
suspected my soul, being mischievous, might slip away while I was
dreaming and fail to return. I did my best not to fall asleep, to keep it
inside of me where it belonged.
Perhaps to satisfy my curiosity, my mother enrolled me in Sunday
school. We were taught by rote, Bible verses and the words of Jesus.
Afterward we stood in line and were rewarded with a spoonful of comb
honey. There was only one spoon in the jar to serve many coughing
children. I instinctively shied from the spoon but I swiftly accepted
the notion of God. It pleased me to imagine a presence above us, in
continual motion, like liquid stars.
Not contented with my child?s prayer, I soon petitioned my
mother to let me make my own. I was relieved when I no longer had
to repeat the words If I should die before I wake, I pray the Lord my
soul to take and could say instead what was in my heart. Thus freed, I
would lie in my bed by the coal stove vigorously mouthing long let-
ters to God. I was not much of a sleeper and I must have vexed him
with my endless vows, visions, and schemes. But as time passed I came
to experience a different kind of prayer, a silent one, requiring more
listening than speaking.
My small torrent of words dissipated into an elaborate sense of
expanding and receding. It was my entrance into the radiance of
imagination. This process was especially magnified within the fevers
of influenza, measles, chicken pox, and mumps. I had them all and
with each I was privileged with a new level of awareness. Lying deep
within myself, the symmetry of a snowflake spinning above me, inten-
sifying through my lids, I seized a most worthy souvenir, a shard of
heaven?s kaleidoscope.
My love of prayer was gradually rivaled by my love for the
book. I would sit at my mother?s feet watching her drink coffee and
smoke cigarettes with a book on her lap. Her absorption intrigued
me. Though not yet in nursery school, I liked to look at her books,
feel their paper, and lift the tissues from the frontispieces. I wanted to
know what was in them, what captured her attention so deeply. When
my mother discovered that I had hidden her crimson copy of Foxe ?s
Book of Martyrs beneath my pillow, with hopes of absorbing its mean-
ing, she sat me down and began the laborious process of teaching me
to read. With great effort we moved through Mother Goose to Dr.
Seuss. When I advanced past the need for instruction, I was permit-
ted to join her on our overstuffed sofa, she reading The Shoes of the
Fisherman and I The Red Shoes.
I was completely smitten by the book. I longed to read them all,
and the things I read of produced new yearnings. Perhaps I might go
off to Africa and offer my ser-vices
to Albert Schweitzer or, decked in
my coonskin cap and powder horn, I might defend the -people
like Davy
Crockett. I could scale the Himalayas and live in a cave spinning a prayer
wheel, keeping the earth turning. But the urge to express myself was my
strongest desire, and my siblings were my first eager coconspirators in
the harvesting of my imagination. They listened attentively to my stories willingly performed in my plays, and fought valiantly in my wars.
With them in my corner, anything seemed possible.
In the months of spring, I was often ill and so condemned to my
bed, obliged to hear my comrades at play through the open window.
In the months of summer, the younger ones reported bedside how
much of our wild field had been secured in the face of the enemy. We
lost many a battle in my absence and my weary troops would gather
around my bed and I would offer a benediction from the child sol-
dier?s bible, A Child?s Garden of Verses by Robert Louis Stevenson.
In the winter, we built snow forts and I led our campaign, serving
as general, making maps and drawing out strategies as we attacked and
retreated. We fought the wars of our Irish grandfathers, the orange and
the green. We wore the orange yet knew nothing of its meaning. They
were simply our colors. When attention flagged, I would draw a truce
and visit my friend Stephanie. She was convalescing from an illness I
didn?t really understand, a form of leukemia. She was older than I, per-
haps twelve to my eight. I didn?t have much to say to her and was perhaps
little comfort, yet she seemed to delight in my presence. I believe that
what really drew me to her was not my good heart, but a fascination with
her belongings. Her older sister would hang up my wet garments and
bring us cocoa and graham crackers on a tray. Stephanie would lie back
on a mound of pillows and I would tell tall tales and read her comics.
I marveled at her comic-book collection, stacks of them earned from
a childhood spent in bed, every issue of Superman, Little Lulu, Classic
Comics, and House of Mystery. In her old cigar box were all the talis-
manic charms of 1953: a roulette wheel, a typewriter, an ice skater, the
red Mobil winged horse, the Eiffel Tower, a ballet slipper, and charms in
the shape of all forty-eight states. I could play with them endlessly and
sometimes, if she had doubles, she would give one to me.
I had a secret compartment near my bed, beneath the floorboards.
There I kept my stash?winnings from marbles, trading cards, reli-
gious artifacts I rescued from Catholic trash bins: old holy cards, worn
scapulars, plaster saints with chipped hands and feet. I put my loot
from Stephanie there. Something told me I shouldn?t take presents
from a sick girl, but I did and hid them away, somewhat ashamed.
I had promised to visit her on Valentine ?s Day, but I didn?t. My
duties as general to my troop of siblings and neighboring boys were
very taxing and there was heavy snow to negotiate. It was a harsh
winter that year. The following afternoon, I abandoned my post to sit
with her and have cocoa. She was very quiet and begged me to stay
even as she drifted off to sleep.
I rummaged through her jewel box. It was pink and when you
opened it a ballerina turned like a sugarplum fairy. I was so taken
with a particular skating pin that I slipped it in my mitten. I sat frozen
next to her for a long time, leaving silently as she slept. I buried the
pin amongst my stash. I slept fitfully through the night, feeling great
remorse for what I had done. In the morning I was too ill to go to
school and stayed in bed, ridden with guilt. I vowed to return the pin
and ask her to forgive me.
The following day was my sister Linda?s birthday, but there was
to be no party for her. Stephanie had taken a turn for the worse and
my father and mother went to a hospital to give blood. When they
returned my father was crying and my mother knelt down beside me
to tell me Stephanie had died. Her grief was quickly replaced with
concern as she felt my forehead. I was burning with fever.
Our apartment was quarantined. I had scarlet fever. In the fif-
ties it was much feared since it often developed into a fatal form
of rheumatic fever. The door to our apartment was painted yel-
low. Confined to bed, I could not attend Stephanie ?s funeral. Her
mother brought me her stacks of comic books and her cigar box of
charms. Now I had everything, all her treasures, but I was far too
ill to even look at them. It was then that I experienced the weight
of sin, even a sin as small as a stolen skater pin. I reflected on the
fact that no matter how good I aspired to be, I was never going
to achieve perfection. I also would never receive Stephanie ?s for-
giveness. But as I lay there night after night, it occurred to me that
it might be possible to speak with her by praying to her, or at least
ask God to intercede on my behalf.
Robert was very taken with this story, and sometimes on a cold, lan-
guorous Sunday he would beg me to recount it. ?Tell me the Stephanie
story,? he would say. I would spare no details on our long mornings
beneath the covers, reciting tales of my childhood, its sorrow and magic,
as we tried to pretend we weren?t hungry. And always, when I got to the
part where I opened the jewelry box, he would cry, ?Patti, no . . .?
We used to laugh at our small selves, saying that I was a bad
girl trying to be good and that he was a good boy trying to be bad.
Through the years these roles would reverse, then reverse again, until
we came to accept our dual natures. We contained opposing princi-
ples, light and dark.
I was a dreamy somnambulant child. I vexed my teachers with
my precocious reading ability paired with an inability to apply it
to anything they deemed practical. One by one they noted in my
reports that I daydreamed far too much, was always somewhere
else. Where that somewhere was I cannot say, but it often landed me
in the corner sitting on a high stool in full view of all in a conical
paper hat.
I would later make large detailed drawings of these humorously
humiliating moments for Robert. He delighted in them, seeming to
appreciate all the qualities that repelled or alienated me from others.
Through this visual dialogue my youthful memories became his.
I was unhappy when we were evicted from The Patch and had to
pack up to begin a new life in southern New Jersey. My mother gave
birth to a fourth child whom we all pitched in to raise, a sickly though
sunny little girl named Kimberly. I felt isolated and disconnected in
the surrounding swamps, peach orchards, and pig farms. I immersed
myself in books and in the design of an encyclopedia that only got as
far as the entry for Simón Bolívar. My father introduced me to science
fiction and for a time I joined him in investigating UFO activity in the
skies over the local square-dance hall, as he continually questioned the
source of our existence.
(Continues...)
Excerpted from Just Kidsby Patti Smith Copyright © 2011 by Patti Smith. Excerpted by permission of Ecco. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Product details
- Publisher : Ecco; Reprint edition (November 2, 2010)
- Language : English
- Paperback : 320 pages
- ISBN-10 : 0060936223
- ISBN-13 : 978-0060936228
- Item Weight : 12.8 ounces
- Dimensions : 0.9 x 5.4 x 8.2 inches
- Best Sellers Rank: #4,339 in Books (See Top 100 in Books)
- #3 in Biographies of Artists, Architects & Photographers (Books)
- #51 in Women's Biographies
- #150 in Memoirs (Books)
- Customer Reviews:
About the author
Patti Smith is a writer, performer, and visual artist. She gained recognition in the 1970s for her revolutionary merging of poetry and rock. She has released twelve albums, including Horses, which has been hailed as one of the top one hundred debut albums of all time by Rolling Stone.
Smith had her first exhibit of drawings at the Gotham Book Mart in 1973 and has been represented by the Robert Miller Gallery since 1978. Her books include Just Kids, winner of the National Book Award in 2010, Wītt, Babel, Woolgathering, The Coral Sea, and Auguries of Innocence.
In 2005, the French Ministry of Culture awarded Smith the title of Commandeur des Arts et des Lettres, the highest honor given to an artist by the French Republic. She was inducted into the Rock and Roll Hall of Fame in 2007.
In 1980, she married the musician Fred Sonic Smith in Detroit. They had a son, Jackson, and a daughter, Jesse. Smith resides in New York City.
Customer reviews
Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.
Learn more how customers reviews work on AmazonCustomers say
Customers find the book delightful, interesting, and pleasant. They praise the writing quality as beautiful, easy to read, and inspiring. Readers describe the story as heartfelt, compelling, and endearing. They also find the stories touching, rich in texture, and memorable.
AI-generated from the text of customer reviews
Customers find the book delightful, interesting, and beautiful. They say it fueled their aspirations and reinforcing the importance of listening to their own tunes. Readers also mention the story is worth their time.
"...The beautiful tribute is interwoven with a raw look at young lives, learning to become themselves in the late '60s through the '80s...." Read more
"...They’re meant to be together in this world. Just beautiful. Best book of read this year." Read more
"...discussions when there's some minor disagreement, but this was a very pleasant and, for many of us, a rather nostalgic evening...." Read more
"...I'd give it over a 4 but under a 4 ½ star review because it's lovely and touching but not transformative. Therefore I will give it a 4." Read more
Customers find the writing quality of the book beautiful, easy to read, and touching. They say the text is inspiring and reassuring about love. Readers also mention the author has a command of the English language that paints pictures with words.
"...The Romeo and Julietness of it all. Beautiful prose...." Read more
"...Her prose is light and airy, and her memories sepia-tinged and wholesome, despite the fact that anyone who knows the history of that scene knows..." Read more
"...Patti Smith’s writing is beautiful and skillful. She is, after all, a poet...." Read more
"...We all agreed that the writing was tender and sweet, wistful in its poetry, especially considering that it covers some difficult times for Patti and..." Read more
Customers find the book insightful, fascinating, and astute. They appreciate the humility, intellect, and everydayness. Readers also mention that the story is profound, startling, and inspirational.
"...Fascinating book with a list of characters a mile wide." Read more
"...I found this book absolutely fascinating, but when it was over, it felt insubstantial. But that doesn't mean it's not worth reading.*..." Read more
"...book describes this journey of discovery and offers a fascinating glimpse into their creative processes...." Read more
"...I was drawn to her humility, intellect, and “everydayness.” Her music seemed like just one part of a very observant person...." Read more
Customers find the story very human, compelling, and endearing. They describe the emotions as raw and pure. Readers also mention the book is a moving tale of generosity and nurture.
"Patti and Robert are unforgettable. They’re meant to be together in this world. Just beautiful. Best book of read this year." Read more
"...Bob DylanThis is a story about love. Deep, enduring, passionate love. Mutual respect...." Read more
"...give it over a 4 but under a 4 ½ star review because it's lovely and touching but not transformative. Therefore I will give it a 4." Read more
"...the historical facts, Smith tells of it with such tenderness and raw love, that I struggled to read through tears for the last few pages...." Read more
Customers find the story touching, beautiful, and rich in texture. They say it captures the tumultuous era in which Smith and Mapplethorpe lived. Readers also mention that every scene rings true.
"...More importantly, though, she writes throughout with sincerity, grace and humor...." Read more
"...This is a poetic love story." Read more
"...reading, both for the romance, shared creativity, and tremendous loyalty and respect for one another. No wonder this won a National Book Award." Read more
"...Only for big time Patti Smith fans. This book doesn't give much insight into Mapplethorpe." Read more
Customers find the memoir nostalgic and vivid. They say it's a rich history of an experience that keeps memories alive. Readers also mention the book is poignant, full of wonderful moments, and a thorough retrospective of a famous time in NYC.
"...Her prose is light and airy, and her memories sepia-tinged and wholesome, despite the fact that anyone who knows the history of that scene knows..." Read more
"...But the book is not a tragedy. Rather it is more a celebration of a time and place, and a relationship that nurtured to significant artists of the..." Read more
"...with artist/photographer Robert Mapplethorpe is an exquisitely tender and nostalgic one, and yet also clear-sighted and realistic...." Read more
"Powerful, poignant memoir by legendary rock poet Patti Smith about her shared struggles to succeed as an artist with the controversial photographer..." Read more
Customers find the author wildly talented, brilliant, and incredible. They say she's an extremely gifted writer and unique personality. Readers also appreciate her intelligence and thoughts.
"...Patti Smith’s writing is beautiful and skillful. She is, after all, a poet...." Read more
"...got it going, Patti Smith is/was American as apple pie; thrifty, industrious, entrepreneurial, and self-involved, her Rimbaud-inspired disdain and..." Read more
"...Smith's talents are huge, her accomplishments too great to enumerate. She and Mapplethorpe alternated between being one other's muse and artist...." Read more
"This is an important book for artists of our day who feel very little support for our endeavors...." Read more
Customers have mixed opinions about the book. Some find it entertaining, exhilarating, and funny from the start. However, others say it loses steam and gets increasingly boring as it progresses. They also mention the middle parts are repetitive and dull.
"...BTW, there are many photos & they're fun to look at. Only for big time Patti Smith fans. This book doesn't give much insight into Mapplethorpe." Read more
"...I found this book absolutely fascinating, but when it was over, it felt insubstantial. But that doesn't mean it's not worth reading.*..." Read more
"...importantly, though, she writes throughout with sincerity, grace and humor...." Read more
"...I give this book 4 stars instead of 5, only because it's repetitive...." Read more
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”It was the summer Coltrane died. The summer of “Crystal Ship.” Flower children raised their empty arms and China exploded the H-bomb. Jimi Hendrix set his guitar in flames in Monterey. AM radio played “Ode to Billie Joe.” There were riots in Newark, Milwaukee, and Detroit. It was the summer of Elvira Madigan, the summer of love. And in this shifting, inhospitable atmosphere, a chance encounter change the course of my life.”
It was that summer when Patti Smith met Robert Mapplethorpe. Just Kids is a love story of these two young people who, against all odds, meet, fall in love, and cling to that love long after they’ve chosen other partners, other ways of life, and love. It’s a love story of the city where they fell in love, and perhaps even a bit of a love story to the art and poetry and music that was created in the course of their love story.
They combined their meager possessions, but money was problematic, they barely made enough money for food – and frequently went without. Extras were out of reach. Books they had already owned were their prized possessions, as was their music limited to those albums they’d brought into this relationship. And still, they were able to enjoy some concerts just by virtue of being in the right place at the right time, or knowing the right person.
”Yet you could feel a vibration in the air, a sense of hastening. It had started with the moon, inaccessible poem that it was. Now men had walked upon it, rubber treads on a pearl of the gods.”
There are a very few years that they were not in touch, Smith’s focused on her music career, her marriage to Fred “Sonic” Smith, and Mapplethorpe focused on his art, his partner. Time passes, children come along, and when Smith is expecting a second child, they re-establish communication.
”We were as Hansel and Gretel and we ventured out into the black forest of the world. There were temptations and witches and demons we never dreamed of and there was splendor we only partially imagined. No one could speak for these two young people nor tell with any truth of their days and nights together. Only Robert and I could tell it. Our story, as he called it. And having gone, he left the task for me to tell it to you.”
I knew very little about Patti Smith, I knew who she was, is, and that I’ve heard some of her songs, knew she was a musician… beyond that, nothing. So, when this book first came out, and my brother sent me a signed copy of this, along with a few other books, and I vaguely recall seeing it and wondering why he sent it to me. And then, years later, also sent me a signed copy of M Train. I was beginning to feel a little guilty.
I loved this. There’s a bit of that raw energy and the grittiness of living in their early days together, the descriptions of the city, especially at night. The Romeo and Julietness of it all. Beautiful prose.
Their story reminded me of one of my favourite poems, Edna St. Vincent Millay’s ”Sonnet XXX – Love Is Not All”
”Love is not all: it is not meat nor drink
Nor slumber nor a roof against the rain;
Nor yet a floating spar to men that sink
And rise and sink and rise and sink again;
Love can not fill the thickened lung with breath,
Nor clean the blood, nor set the fractured bone;
Yet many a man is making friends with death
Even as I speak, for lack of love alone.
It well may be that in a difficult hour,
Pinned down by pain and moaning for release,
Or nagged by want past resolution’s power,
I might be driven to sell your love for peace,
Or trade the memory of this night for food.
It well may be. I do not think I would.”
But they weren't. Just Kids is a memoir by Patti Smith about her time living in New York with Robert Mapplethorpe while they were both shaking off the dull scraps of adolescence and trying to break out as artists. Strewn throughout the book are pictures of them as very young excitable artists-in-training joined at the hip.
Smith's prose reads like a soft-focus fairy tale. The sections set in the Chelsea Hotel, especially, have an almost Dickensian quality to them; they read as a quaint story full of larger-than-life characters, most of whom have hearts firmly of gold. Reconciling this wistful retelling of her youth with the persona I associate with her was intriguing to say the least. And obviously I am not the only one who found the disconnect between Patti Smith's presence and her internal life jarring - there are places in the text where she discusses how those around her took her for a lesbian (she is straight), or a junkie (she seems not to have experimented with pot until she'd moved out of the Chelsea). Her prose is light and airy, and her memories sepia-tinged and wholesome, despite the fact that anyone who knows the history of that scene knows just how much death and self-immolation is happening just off screen. Patti Smith herself seems to have waltzed through it unscathed, and her writing dances along the edges of the darkness that her scene held*. Without the debauchery, the excess, the Chelsea Hotel in the 70s reads as an almost Victorian affair.
The book is structured in a circle: it opens with the moment Smith hears of Mapplethorpe's death, then jumps back in time before they have met. Smith discusses her teenage pregnancy and the process of giving her child up for adoption, her failure at teacher's school, and her time on a New Jersey assembly line in a brisk and somewhat sanitized fashion; again, there seems to be in her writing a distaste for discussions of the negative, of the hard and bleak moments of her life. From there, the book jumps forward to her first meeting with Mapplethorpe, their sweet and heartfelt romance, the little poverty-stricken life they build together, and how hard they worked to evolve their relationship with each other when their life trajectories began to diverge. The book ends with a far jump into the future, back to those last few weeks of Mapplethorpe's life and ends with his inevitable death, right back where the book started.
Given that the book is told from Smith's perspective, it is perhaps not surprising that her motives and desires are clear throughout, but over the course of the book Mapplethorpe becomes more and more opaque. A boy who seems simple when she first meets him grows into a man full of contradictions. The person whose viewpoints and life goals seemed to mirror hers so closely at first winds up yearning to be part of the social circles that Smith herself actively avoids. It became increasingly unsettling as I read the book. What does he get from her that keeps him around? How does he see her and their ever-changing relationship? Very little is explored here in the text, and Smith herself seems to take their relationship at face value, as a thing complete in itself with little context surrounding it. It just is for her, and her wholesale acceptance of it is so radically different from the way I, personally, live out my significant life-altering relationships that it was hard for me to understand at times what their relationship was exactly. But there is an authenticity to her writing that explains the halcyon haze through which she remembers that time of her life. That period, above anything else, was her period with Robert Mapplethorpe, for whom she had a love so total and accepting it is essentially blank, without specificities, and all the hardness of that time is drowned out in remembrance of him.
Just Kids is, like most memoirs, ultimately a work that says as much or more about its author than the subject matter itself. The story there is as much in the telling as it is in the content. And it's a fascinating look into the mind of a woman who is so very different than the person I assumed her to be. It is a love letter to the late Robert Mapplethorpe, but it's a love letter to her young self, as well. I can't help but wish there had been some balance to it, some acknowledgment of the difficulties of living so poor, or of loving a man who seems to fall into and out of and into and out of love with her, or of the pain of watching her friends get consumed by drugs right in front of her, but that's not the book she wrote. It may not be a book she's able to write. I can't help but think of her as an unreliable narrator for her own life, but ultimately that's what we all are. It's hard to tell the bald truth about your own life. It might be impossible. But still, the unanswered questions nag at me. I found this book absolutely fascinating, but when it was over, it felt insubstantial. But that doesn't mean it's not worth reading.
*Swimming Underground by Mary Woronov of Warhol's Factory crew is a bird's eye account of the dark addictions Patti Smith seems to prefer to keep just out of frame. I highly recommend it, too, and it works as a very interesting counterbalance to Just Kids.