The Piano is a ’90s-era postmodern stew of sensuality and death, realism and fantasy, stories within stories, feminism and psychology, and postcolonial imagery.
In the shadow of the “Happy Together” decade, Bob Batchelor’s the Doors’ biography Roadhouse Blues explores the dark and gloomy side of Jim Morrison and the band.
Louise Erdrich’s The Sentence becomes a way to acknowledge the surrealism that has always pulsated just beneath the surface of American life.
The 1980s began on 10 February 1978, with the release of Van Halen’s self-titled debut album, now celebrating its 45th anniversary.
How were Rage Against the Machine so far ahead of their time, not just as political bellwethers but with a sound reaching past genres to create something entirely new?
Could the cynicism associated with grunge, Gen X, and early 1990s rock have instead been replaced with sincerity if Soul Asylum’s Grave Dancers Union had been the hit rather than Nirvana’s Nevermind?
In Bodies: Life and Death in Music, critic Ian Winwood chronicles the wreckage of a reckless industry and wonders if there is another way.
Breaking form with his latest work, Crossroads, Franzen has not written a social novel. He has written an Antisocial Novel.
In his book The Storyteller, both successful Nirvana drummer and Foo Fighters frontman Dave Grohl the Punk, and lucky Dave Grohl the Everyman, come out smiling.