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Disclaimer: I am not a Jimi Hendrix fan. I know, and like, the same 4 songs that everyone knows, and I'd probably recognize him on a few others, but I don't own or go out of my way to listen to any of them. I was still watching Sesame Street and singing along with Mr. Rogers during the few short years that he rose to stardom, transformed rock music, then died choking on his own vomit in a near-stranger's bed. 

I chose this biography because I was curious about the life and career of a talented and famously tragic artist, and because it was conveniently available on loan from the library. It's obviously well researched and well written. The author presents the facts and personal accounts of Hendrix's life without judgement or bias, other than to provide some analysis on the reliability of the sources. While respectful of the man's talent and accomplishments and sensitive to challenges he faced, Cross doesn't come across as a fanboy or try to gloss over the more unsavory aspects of the man's character and choices.

Lloyd James provides a solid performance on the narration. 

There are not a lot of winks in Just Kids, no nods or quips, it is not self-deprecating or apologetic at all. Patti Smith writes one of the most outlandish coming-of-age stories I could imagine, from teaching college to the streets of New York to the Hotel Chelsea in about two years, then rising in the worlds of art, poetry and music. She has cool artistic friends who actually go on to change the world. Janis Joplin, Bob Neuwirth, Sam Shepard, these are the people she encounters at parties, concerts, or while sketching in the lobby of the Chelsea--real encounters, not the "Hey it's you!" "Yeah, I know" variety--but she plays it all straight, with heartfelt appreciation for the part each played in her life.

There is name-dropping, but how could there not be? She doesn't have to mention her brief conversation with Jimi Hendrix, but that is as much part of the scenery as anything else, as much as St. Marks or the Gotham Book Mart, every city has a cast of characters but hers have names we recognize. The story of her friendship with Robert Mapplethorpe, the two of them finding a place in the world and finding a voice and doing all this at such an exciting moment cannot be told without acknowledging that the people whose work they and everyone else bought and adored and discussed were just downstairs at El Quixote.

Smith captures beautifully that moment in life when friendships mean so much because the world has suddenly gotten so big and they don't know what to make of it. They are sure they can make an impression on it even as they struggle to make rent. I like also that she hasn't tried to place herself in that world but tried to show us how she saw the world then. They're around her, the Manson killings, Woodstock, but she's not reporting she's telling her story. 

I didn't have to tell you how good this book was. A National Book Award winner and strong recommendations from your cooler friends were probably enough, but if you--like me--for some reason have not picked it up, this is your chance.

the Huffington Post has an excellent article by author M.R. Cary on why genre fiction is valuable reading, and why literary snobbery is not only silly but often just plain wrong. 

on critics who spurn genre writing because it's too formulaic:

Yes, of course there are constraints when you write genre fiction. There are also constraints when you write literary fiction. Totally unconstrained writing would be (to paraphrase Kurt Vonnegut) gibberish interspersed with exclamation marks. When you write -- when you write anything at all -- you write on the end of a tether. But it's a flexible tether, and it's all about the dance you perform on the end of that thing and how you work with it or strain against it or in some cases tie it into knots that were never seen before.

he later continues: 

But special pleading aside, look at the works of Ursula LeGuin, China Miéville, Lord Dunsany, Angela Carter, Ray Bradbury, Connie Willis, Mervyn Peake, Ted Chiang, Raymond Chandler and Don Winslow (just for starters) and see whether writing in genre made their work less resonant, less profound, less valid and affecting, than the work of any canonically approved genius you care to mention.

 

And while you're at it, there's fun to be had in trying to think up reasons why Hamletand Macbeth aren't genre fiction. Because they're old, maybe? Because there's an R in the month? One's a ghost story, the other one has witches in it, and both were written (whatever else was in Shakespeare's mind) in a sincere bid to break the record for "most groundlings in a theatre the size of a pocket handkerchief." 

incidentally, Cary's new novel The Girl With All the Gifts is supposed to be pretty darned good. i haven't read it yet, but i intend to.   

* the photo is of Jimi Hendrix reading the Penguin Science Fiction Omnibus (via Zola Books)