BOOK REVIEW - 'Shuggie Bain' - 2020 Booker Prize That Hurt My Eyes!

words by @rybazoxo 

2020 was a year that none of us will ever forget. After I saw Morrissey in Leeds in March of that year, the world decided to close, and lockdown. We were all then subjected to, and brutalised by, face masks, vaccinations, mass-media hysteria and erm…death. All very grim. What I didn't notice in that year, and I'd be surprised if anybody did, was the 2020 Booker Prize handed to Douglas Stuart for his debut novel, ‘Shuggie Bain’. It wasn’t until late last year that, scouring a charity shop for books, I picked this one up for 50p and thought I'd give it a whirl. 

A disclaimer at this point would be that I normally don't read fiction. I'm autistic, so fiction isn't real, and I normally stay clear, preferring biographies, true crime stories and memoirs. However, I read all the praise about this Scottish 1980s set melodrama / coming-of-age drama/alcohol abuse drama and enthusiastically began reading. At over 400 pages, it's not a short one but I thought it was worth it. I mean, a booker prize has got to be good, right? Well, not quite. The first 150 - 200 pages of this book are really good. You route for young Shuggie as he battles with his alcoholic mother (I’ll get back to that shortly), his problematic siblings, his absent father, his blatant homosexuality, and living with his grandparents - all against a backdrop of council estate poverty and Thatcherite policies. 

1980s Glasgow. Image by Raymond Depardon

Where Douglas paints a perfect picture of a grim Scotland (I've never been but read about it) and has strong characterisation, he lacks any fleshing-out of the coming-of-age of the book's main protagonist. This book should be called ‘Agnes Bain’ (Shuggie’s Mum) as she is the main character in this book. Agnes battles booze throughout the novel, and every alcoholism cliche you can think of, including with the wrong men,  only to meet her maker at the end, is by and large, rather disappointing. I thought this was going to be some sort of ‘good outweighs the bad’ kind of book - it is not. Shuggie’s character comes good at the beginning and middle but that's it. 

1980s Glasgow. Image by Raymond Depardon

The end of the story has no real conclusion and the last chapter (there are 30 altogether) introduces another character’s alcoholic mother which just regurgitates content. It's a shame as this could have been a good book, and I think 200 pages would have done it and still won the prize. But, rather like COVID-19, this book was very grim, went on for far too long, and I was so glad when it ended. 

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Morrissey's Autobiography : After 12 years, Is It Time For A Sequel?

 

When Autobiography was published in 2013 as a Penguin Classics edition—a distinction usually reserved for long-dead literary greats—it sparked immediate debate. Was it an act of self-indulgence or a well-earned nod to Morrissey's undisputable cultural impact? I remember first reading this sat on a Sheffield tram in the cold winter of that year. Twelve years have passed yet this book has never left my bookcase. During the Winter of 2024, while the rest of the world ate turkey and tinsel, I revisited the book to write a review. Another two months have passed, so here it is. My idol is Morrissey, and I also read like an obsessive librarian, so I thought I'd combine the two and try (once again) to write a book blog. Let me know what you think in the comments box!

There's More To Life Than Books You Know!

From the outset, Autobiography reads unlike any standard memoir. Morrissey’s writing style is as florid and grandiose as his lyrics, overflowing with poetic turns of phrase, obscure references, and sharp humour. His sentences stretch for paragraphs, and his storytelling often lacks conventional structure. It makes for a rich, if sometimes exhausting, reading experience. At times, his prose is breathtakingly beautiful; at others, it veers into self-parody (very similar to his solo work, I feel)

Manchester, you have a lot to answer for!

The book begins with an evocative account of his childhood in 1960s and 1970s Manchester, (think 'The Headmasters Ritual) a city he describes as grey, oppressive, and joyless - "the arse of the world" he once sang. His depictions of corporal punishment in Catholic school, and a violent neighbourhood, describe a generally stifling existence. Yet there is a dark romance in his descriptions, often like these lyrics, he finds beauty in the melancholy - a trait he certainly cashed in on in The Smiths and his solo career. As you can expect for someone who wears his cultural icons on his sleeve - Music and film serve as his escape routes, and he writes movingly about the impact of artists like the New York Dolls, and Patti Smith, and his early fascination with legendary playwright (and Morrissey Iconography image N0.1) Oscar Wilde.

The Smiths: I Won't Share You...

Naturally, Autobiography dedicates considerable space to The Smiths, the band that made Morrissey a household name. His descriptions of meeting Johnny Marr and their creative partnership are joyous at times and seem filled with a sense of destiny. In terms of music history, it's a 'When Lennon Met McCartney' moment. But Morrissey seems unable to celebrate The Smiths without simultaneously mourning their dissolution and cataloguing how he feels wronged. The legal battle over royalties, which saw drummer Mike Joyce successfully sue Morrissey and Marr, is recounted in excruciating detail. While his bitterness is understandable, his obsessive resentment towards Joyce and the legal system feels excessive, dragging down an otherwise exhilarating chapter of the book - 'I bear more grudges than lonely high-court judges' he once sang.

Morrissey Solo Career...

Morrissey’s solo career, which he sometimes frames as a battle for survival, is covered in a more fragmented way. He highlights the successes, like Viva Hate and You Are the Quarry, but also dwells on his struggles with the music industry, dismissive critics, and perceived betrayals. His clashes with record labels, the press, and former associates reinforce his image as a misunderstood, embattled figure. The insight into his songwriting process is rather inspiring.

It's Not Like Any Other Love...

One of the more surprising elements of this book is Morrissey’s candid discussion of his relationships, an aspect of his life he long kept private. He details significant romantic connections, particularly his relationship with photographer Jake Walters. This revelation complicates his long-maintained aura of celibacy and ambiguity, making it one of the book’s most intriguing aspects.

Autobiography is a book that, like its author, refuses to conform. It is brilliant in places, insufferable in others, but always compelling. Morrissey’s storytelling is evocative and often hilarious. For fans, the book is essential reading, offering deep insight into his psyche and creative world. Love him (like I do) or loathe him (like everybody else does) Autobiography ensures that his legacy—flawed, fascinating, and fiercely individual—will endure.

Twelve years after its publication Morrissey's solo career is still going strong. He's also just announced another USA tour.  I would love to see an update to his Autobiography, as Morrissey's career has been just as dramatic these past twelve years.,

My next Morrissey book to re-review is List Of The Lost

Words by @rybazoxo

www.ryanoxleywriter.blogspot.com 

The True Story Of The Beatles : Shout! by Philip Norman

Philip Norman's 'Shout! The True Story Of The Beatles stands as a seminal work in the vast canon of Beatles literature. First published in 1981, it arrived at a pivotal moment, just after John Lennon's assassination, offering one of the first truly comprehensive and unflinching looks at the band's meteoric rise and eventual dissolution. Philip Norman, a seasoned journalist, brings a critical eye and a wealth of research to this book, aiming to peel back the layers of myth and reveal the complex realities of the four men who changed the face of popular music.

The Beatles in Hamburg

What immediately strikes me is the meticulous attention to detail. Our author delves deep into the early lives of John, Paul, George, and Ringo, tracing their formative years in Liverpool, their rough-and-tumble apprenticeship in Hamburg (pictured above), and the gradual alchemy that transformed them into the global phenomenon known as The Beatles. Norman doesn't shy away from the less glamorous aspects, exploring the internal tensions, the ego clashes, the pressures of fame, and the personal struggles that often lie beneath their polished public image. He meticulously chronicles their creative evolution, from their early pop hits to their groundbreaking studio albums, providing context for each artistic leap.

A significant portion of the book is dedicated to the intricate and often fraught relationship between John Lennon and Paul McCartney, the primary songwriting partnership. Norman explores their creative synergy, their competitive drive, and the eventual fracturing of their bond. He also sheds light on the pivotal roles played by manager Brian Epstein and producer George Martin, acknowledging their crucial contributions to the Beatles' success.

However, 'Shout!' is not without its controversies. Portrayals of certain individuals, particularly Paul McCartney, have been criticised by some as overly harsh or biased. His narrative, while thoroughly researched, often carries a strong authorial voice that interprets events through a particular lens. This subjective element means that while the book is incredibly informative and engaging, it's not always a universally accepted account. I'd approach it as one significant perspective among many, rather than the definitive, unbiased truth - we Beatles fans can easily take sides. 

Despite these criticisms, 'Shout!' remains an indispensable resource for anyone seeking a deep understanding of The Beatles. Its scope is immense, its research impressive, and its narrative compelling. It provides a rich tapestry of the cultural, social, and personal forces that shaped the most influential band in history. For those who want to move beyond the hagiography and explore the human complexities behind the legend, Philip Norman's 'Shout!' offers a powerful and enduring account.

I got this from World of Books, which is a great resource for second-hand books. 

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Beatles '64 - I'm a huge The Beatles fan! Is this worth a watch?

I loved The Beatles' Disney + epic 'Get Back' and was delighted to finally watch the latest resurgence of archive Beatles films, 'Beatles 64,' directed by Martin Scorsese. 

The film tells the story of the 'Fab Four' arriving in the States for a 2-week cultural tour (between 19th August and 20th September 1964) with a selection of talking heads who lived it, including archive gig footage. The real gem for any true hardcore Beatles fan is the 1964  backstage film of the band relaxing in a USA hotel ( it looks like a hotel scene from 'A Hard Day's Night) that has remained unseen until now. This 1964 footage (although directed by Scorsese) was filmed by two brothers who followed the band around America on their first stateside trip, capturing this magnificent music history for prosperity and Disney+ subscribers!!

Modern-day accounts of The Beatles hey-days come from an ageing Paul McCartney (who also shows off his 1964 photo collection) and Ringo Starr, interspersed with archive John Lennon and George Harrison interviews. The film also features an impressive collection of famous fans as Scorsese films chat with Smokey Robinson, Ronnie Spector, and David Lynch. Following the band to Washington, we get to see them debut on the Ed Sullivan Show with some live footage of that gig and watch John Lennon in a 1970s interview, one which I'd never seen before. It's a fantastic collection of footage - the film also tells the story of America's cultural resurgence, following the assassination of JFK at the end of '63. The Beatle's arrival in New York is seen as the awakening of a country coming out of collective mourning. 

As someone who's watched countless 'The Beatles' interviews, books and cinema, I was incredibly impressed by this film and felt I'd learned more about my favourite band. I've also discovered that Scorses' directed a George Harrison film called 'Living In The Material World' -that's my next watch! 

Words by @rybazoxo 

www.ryanoxleywriter.blogspot.com