When I Grow Up: A MemoirBy: Juliana Hatfield
[Wiley Press]
It is in no way an over statement when I say Juliana Hatfield’s When I Grow Up… is the most fascinating and unique memoir that I’ve read since Bob Dylan’s Chronicles Vol. 1. Mostly it’s the structure and the way she tells her own story. This is not a “has-been” rewriting her personal relevance, but rather it’s a “should’ve-been-more” writing about her irrelevance in an industry that no longer welcomes her. She’s self-deprecating and self-analytical. She doesn’t shy away from her propensity for moodiness, while still making it clear that she isn’t the angst ridden 90’s grrrrrl one might assume her to be.
The book is split into two sections (usually swinging back-and-fourth from one chapter to the next) – the first part is a tour diary from a run of shows she did in the summer/fall of 2005; and the other section is filled with the more conventional anecdotes one might expect from a memoir. But by the end of the book it becomes painfully obvious that the road diary acts as a metaphor for the journey she has taken through life. It's truly brilliant in its simplicity. Her use of language is not the least bit gratuitous or flowery, but it flows with a poetic rhythm in its structure.
Hatfield has always had a guarded stance toward the press and her fans, generally keeping everyone at arm’s length. In that regard I wouldn’t say she let’s you in – in fact she probably still holds the reader at elbow’s length. But by doing just that, she does allow you some insight and a better understanding of the sometimes-tortured, sometimes contented, and the always unpredictable psyche, of an artist who is coming to terms with middle-age. Lying beneath the surface of every word, seems to be an attempt at reconciling the smoldering embers of a career that was inexplicably ripped out from under her, before she ever really had chance.
As a geek and long time fan of her work, I have only one real criticism. There is one dangling question I have always wondered about, that she comes close to answering but never quite does: how did she come to be the bassist for The Lemonheads’ opus It’s a Shame About Ray? She discusses her relationship with the band and its lead singer Evan Dando – but never broaches how exactly she came to play bass on such an iconic record.
Regardless, anyone who is going through 90’s withdrawal, or just happens to be interested bya complex, insightful artist who has been there and done that – then this book is a must read.
**Juliana has posted two chapters on her website that were removed from the original pressing of the book. I don't know why, because they're very cool (especially the antidote about the friend of her room mate's mom). If you want to read those you can find them at the links below:
Lost chapter #1: "Familiar Stranger"
Lost chapter #2: "8/6 Cambridge to Cleveland"
Let's keep our fingers crossed that she posts more missing chapters in the near future.
The book is split into two sections (usually swinging back-and-fourth from one chapter to the next) – the first part is a tour diary from a run of shows she did in the summer/fall of 2005; and the other section is filled with the more conventional anecdotes one might expect from a memoir. But by the end of the book it becomes painfully obvious that the road diary acts as a metaphor for the journey she has taken through life. It's truly brilliant in its simplicity. Her use of language is not the least bit gratuitous or flowery, but it flows with a poetic rhythm in its structure.
Hatfield has always had a guarded stance toward the press and her fans, generally keeping everyone at arm’s length. In that regard I wouldn’t say she let’s you in – in fact she probably still holds the reader at elbow’s length. But by doing just that, she does allow you some insight and a better understanding of the sometimes-tortured, sometimes contented, and the always unpredictable psyche, of an artist who is coming to terms with middle-age. Lying beneath the surface of every word, seems to be an attempt at reconciling the smoldering embers of a career that was inexplicably ripped out from under her, before she ever really had chance.
As a geek and long time fan of her work, I have only one real criticism. There is one dangling question I have always wondered about, that she comes close to answering but never quite does: how did she come to be the bassist for The Lemonheads’ opus It’s a Shame About Ray? She discusses her relationship with the band and its lead singer Evan Dando – but never broaches how exactly she came to play bass on such an iconic record.
Regardless, anyone who is going through 90’s withdrawal, or just happens to be interested bya complex, insightful artist who has been there and done that – then this book is a must read.
**Juliana has posted two chapters on her website that were removed from the original pressing of the book. I don't know why, because they're very cool (especially the antidote about the friend of her room mate's mom). If you want to read those you can find them at the links below:
Lost chapter #1: "Familiar Stranger"
Lost chapter #2: "8/6 Cambridge to Cleveland"
Let's keep our fingers crossed that she posts more missing chapters in the near future.
No comments:
Post a Comment