One of the most important critics writing in the past 35 years, Jonathan Cott has interviewed and reviewed major artists in publishing, art, film and music, often unearthing new voices years before they're discovered by the mainstream. In Back to a Shadow in the Night, his music interviews and essays – covering an astonishingly wide range of artists and styles – are collected for the first time in one volume. From pondering the links between Patti Smith and Rimbaud to revealing the introverted and eccentric mind of Glenn Gould, Cott consistently provides probing and fascinating dialogues in his interviews. In this collection, John Lennon gives insights on surviving fame four days before his murder, Bob Dylan contemplates identity in his film Renaldo and Clara, and Lou Reed explores the nihilism of New York City and the best lines he's ever written, to name but a few topics. Cott's independent writing on the music world is equally stimulating. With interwoven strands of Eastern philosophy and classical music, nursery rhymes and rock and roll, Cott's musings have a beauty and texture all their own.
Jonathan Cott is the author of 12 books including Isis and Osiris: Exploring the Goddess Myth, City of Earthly Love, He Dreams What Is Going On Inside His Head and The Search for Om Sety. A contributing editor for Rolling Stone since its beginnings, he has frequently been published in the New York Times, American Review and The New Yorker. Cott lives in New York City.
“Jonathan Cott, as an interviewer, reveals truths of creative spirits – especially those in the world of music – that they themselves may not have understood.”
– Studs Terkel
This volume collects for the first time Cott's impressive music writings from the past 35 years. Exemplifying his catholic tastes, the book is broken into three sections. In Part 1, he includes interesting and, in some cases, path-breaking interviews with rock legends like John Lennon, Bob Dylan, Mick Jagger, and Lou Reed, as well as with classical giants like Leonard Bernstein and Steve Reich. Cott follows with articles in Part 2 about such well-known composers and musicians as Igor Stravinsky, Yoko Ono, Harry Partch, Stephane Grappelli, and Glenn Gould. In many cases based on personal interactions, these profiles provide focused and revealing insights into the motivations and directions of the performers. Part 3 contains less essential personal musings about various rock and classical music artists and themes. Although most of the selections have appeared in other publications (e.g., Rolling Stone, the New York Times, and the New York Review of Books), this compilation offers a handy introduction to Cott's work for general readers and music buffs who have not followed him since the 1960s.
Dave Szatmary, Univ. of Washington, Seattle
Copyright 2002 Reed Business Information, Inc.
