Product Description

For more than a quarter century, Philip Norman's internationally bestselling Shout! has been unchallenged as the definitive biography of the Beatles. Now, at last, Norman turns his formidable talent to the Beatle for whom belonging to the world's most beloved pop group was never enough. Drawing on previously untapped sources, and with unprecedented access to all the major characters, here is the comprehensive and most revealing portrait of John Lennon that is ever likely to be published.

This masterly biography takes a fresh and penetrating look at every aspect of Lennon's much-chronicled life, including the songs that have turned him, posthumously, into a near-secular saint. In three years of research, Norman has turned up an extraordinary amount of new information about even the best-known episodes of Lennon folklore—his upbringing by his strict Aunt Mimi; his allegedly wasted school and student days; the evolution of his peerless creative partnership with Paul McCartney; his Beatle-busting love affair with a Japanese performance artist; his forays into painting and literature; his experiments with Transcendental Meditation, primal scream therapy, and drugs. The book's numerous key informants and interviewees include Sir Paul McCartney, Sir George Martin, Sean Lennon—whose moving reminiscence reveals his father as never before—and Yoko Ono, who speaks with sometimes shocking candor about the inner workings of her marriage to John.

Honest and unflinching, as John himself would wish, Norman gives us the whole man in all his endless contradictions—tough and cynical, hilariously funny but also naive, vulnerable and insecure—and reveals how the mother who gave him away as a toddler haunted his mind and his music for the rest of his days.

Product Details

• Amazon Sales Rank: #15752 in Books
• Published on: 2008-11-01
• Released on: 2008-10-28
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 864 pages

From The Washington Post
From The Washington Post's Book World/washingtonpost.com Reviewed by Glenn Frankel When in 1969 three eminent intellectuals were asked to name the "Man of the Decade," broadcaster Alistair Cooke chose John F. Kennedy and novelist Mary McCarthy chose Ho Chi Minh, but anthropologist Desmond Morris opted for John Lennon. It seemed an eccentric choice at the time, but Lennon's stature as a cultural icon has only soared, especially since his murder by a crazed fan in 1980. There are monuments dedicated to him all over the world, from an airport in his hometown of Liverpool to a "tower of light" in Iceland, a graffiti wall in Prague and a chunk of Central Park named Strawberry Fields. As a writer and sly humorist, he has been compared to Lewis Carroll, Edward Lear, James Joyce and Mark Twain, and as an illustrator to James Thurber and Paul Klee. "If he were a painting, I'd hang him in the Metropolitan Museum," said Thomas Hoving, the museum's director. Any biographer who aspires to capture the Beatles' putative leader in all his brilliant and obscene glory has to wrestle with a few basic questions: How did a restless, angry and minimally educated young man from a terminally depressed British seaport rise to lead the foremost pop music group of the 20th century? Was John Lennon truly one of the post-war generation's most creative figures or just a fleeting curiosity? And how can one reconcile the drug-addled, abrasive and gleefully malicious egotist who produced such tripe as "Revolution Number Nine," "Two Virgins" and "The Fly" with the musical genius responsible for "A Day in the Life," "Lucy in the Sky with Diamonds" and "Strawberry Fields"? For all the hundreds of Beatle books, there have been few biographies of the band's most intriguing and troubled member. Ray Coleman's Lennon: The Definitive Biography is a conscientious but tame account by a British journalist who knew and admired him, while Albert Goldman's The Lives of John Lennon is a vengeful, self-righteous hatchet job that makes no attempt to separate fact from fiction. Now comes Philip Norman. Twenty-eight years ago he produced Shout!, an exuberant and revelatory account of the Beatles' rise and fall. His new book, weighing in at 851 pages, should be his master work. But while it's often powerful and heartfelt, John Lennon: The Life falls short of resolving the deep questions about Lennon's life, loves and work and sheds little light on his proper place in the post-industrial pantheon. Norman recounts what is by now an achingly familiar story, beginning with Lennon's troubled childhood. He was raised by his starchy Aunt Mimi after his father went off to sea and his mother moved in with another man (she later died in a traffic accident). Then came his discovery of rock-and-roll; his tangled partnership with another motherless autodidact, Paul McCartney; the dizzying, stratospheric rise of the Beatles and the chaotic, heady years of Beatlemania -- the drugs, the extravagance and the ego-tripping of a man who decided during one LSD experience that he was Jesus; the group's slow implosion and the endless recriminations. Norman is particularly adept at fleshing out such overlooked side characters as Aunt Mimi and Lennon's wayward father, Freddie, pinpointing their roles in the shaping -- and misshaping -- of his character and creativity. Norman displays the same gift for brisk, what-happened-next narrative that made Shout! a page turner, but there are times when his prose falters: Aunt Mimi's "exterior brusqueness camouflaged a heart of purest gold." When the Beatles first arrived to conquer America in 1964, "fate once again seemed to be working as their press agent." Returning to the United States in 1971, "John unpacked his bags in a country where the generation gap had turned into a blazing abyss." Break out the fire extinguishers! Norman doesn't skimp on showing us the malicious side of "a fellow who seemed to have been born without brakes," as one of his art school teachers put it. Lennon whacked his first wife, Cynthia, across the face in a jealous rage, poured beer over manager Brian Epstein's head and pummeled Bob Wooler, a Liverpool deejay who championed the band, sending him to the hospital. Yet at times, Norman insists, Lennon could be sweet-natured and supportive. Norman's account is most revealing after the band collapses and Lennon tries to navigate life as an ex-Beatle. The author had the cooperation of Lennon's widow, Yoko Ono, and lends a sympathetic ear to her side of the breakup story. As the book makes clear, Ono may have used Lennon to gain fame and fortune, but Lennon used her as a sledgehammer to break up the band he felt was suffocating him. Although her musical gifts were microscopic, he brought her to all of the group's recording sessions, whispered to her constantly in front of the others and insisted that they treat her as their professional peer. "She showed me what it was like to be Elvis Beatle and to be surrounded by sycophants and slaves who were only interested in keeping the situation as it was," Lennon told an interviewer. Still, even Ono suffered his wrath. She says he made her write out a list of everyone she'd ever slept with before they met and regarded every man as "an active and dangerous rival for her affections." Norman notes that "even when he went to the toilet, Yoko went too." And she recalls to Norman her humiliation when Lennon made love to a woman in the coatroom of a party Ono and he attended on the night of Richard Nixon's reelection victory in 1972. The most poignant intimacies come at the end of the book when Lennon's son Sean recalls his father, who was murdered when Sean was 5. "I remember the feel of the stubble on his chin . . . the scar I could see underneath it," he tells Norman. It's Sean, himself a musician, who understands his father's most enduring contribution to pop music: the sense of vulnerability and introspection that lies at the heart of such achingly sad songs as "Help!," "Norwegian Wood," "Girl" and "Julia." "For a man to feel insecure and question himself the way my dad did in songs is a post-modern phenomenon," says Sean. "He invented that."
Copyright 2008, The Washington Post. All Rights Reserved.

From Bookmarks Magazine
Critics generally praised John Lennon: The Life, though they often seemed shocked at how much hate and violence could be found in one of the 20th century's most famous proponents of peace and love. Some were also taken aback by the book's length—over 800 pages for a figure who famously lived only to age 40. But most reviewers concluded that the bulk of this biography was appropriate, not only because Norman is the first author to investigate Lennon in such detail but because his sense for which details are interesting (a well-developed portrayal of the young Lennon's Liverpool) and which are not (Beatles ephemera) keeps the book moving at a steady pace.
Copyright 2008 Bookmarks Publishing LLC

From Booklist
A quarter-century after his death and nearly four decades after the Beatles dissolved, John Lennon remains a towering popular-culture figure, warranting this new contribution to the already prodigious Lennon library, by the author of the Beatles biography Shout (1997). Although Lennon’s later life, exhaustively covered by the media from the 1964 onset of Beatlemania forward, is wearyingly familiar to the general public, let alone the devoted fans who will constitute most of this book’s audience, Norman manages to unearth a wealth of new details about Lennon’s troubled childhood in Liverpool—abandoned by his father, he was turned over by his mother to an aunt, who raised him—that provides telling insight into his sometimes idiosyncratic later behavior. Once Lennon meets Paul McCartney in 1957, the book becomes perforce a Beatles biography, but even then Norman uncovers fascinating particulars about the band’s early gigs, especially their baptism by fire in the seedy clubs of Hamburg. Norman dutifully records Lennon’s post-Beatles career after the group’s breakup, but not even his exhaustive research and interviews with the musician’s associates, including widow Yoko Ono and their son, Sean, can freshen such well-trod ground very much. Nonetheless, fans should welcome Norman’s work, as complete an accounting of Lennon’s eventful and influential life as we’re ever likely to get. --Gordon Flagg

Customer Reviews

Nearly the definitive biography of Lennon
Do we need another biography on John Lennon? Yes. Why? Because the two most popular ones are the hatchet job that Albert Goldman did and Ray Coleman's fine biography that didn't quite capture the essence of who Lennon was and was hamstrung by trying to undo the damage of Goldman's book. The other question we need to ask is if there are any new facts about Lennon's life that make this worthwhile (and considering that Norman covered part of Lennon's life in his Beatles book SHOUT!). Yes--Norman digs up new facts both good and bad. He doesn't turn these new bits of info salacious or sensational comments or observations providing them with a context to help us understand Lennon as a human being.

Philip Norman has tackled one of the most difficult subjects for a biography because Lennon's life was well covered by the press and fostered a lot of myths himself. With access to Yoko Ono, Freddie Lennon's biography (and unpublished papers), Sean Lennon, Paul McCartney (via email) and others, Norman has prepared a biography that is fair balanced and presents his contradictory character thorughout his life--his bravado as well as his insecurities (of which there were many).

Fans that have read other Beatles books or Lennon biographies should be aware that the bulk of the book covers Lennon's pre-Beatles life and his time in the band throughout most of the 800 plus pages of the book. Norman does revisit familiar ground simply because they are essential events and there are those that haven't read ANY books on Lennon but he also introduces a lot of new information as well.

There are a few flaws because we are, after all, only human. There's no bibliography or discography for Lennon (although fans may be aware of the latter the former is important)although he usually cites his sources in the book. Nevertheless, Norman has written a nearly perfect (there are a few minor flaws that crept past those that reviewed the text)biography on Lennon in terms of the facts and the various opinions that knew him best. The book devotes too little in terms of Lennon's post-Beatles career and "The Lost Weekend" that he experienced when he broke up with Yoko. It also skimps over the recording sessions for "Double Fantasy" (where Yoko reportedly fought so much with Lennon during the sessions that co-producer Jack Douglas often scheduled them to work on their tracks at different times). Norman has his opinions as well and doesn't hesitate to let the reader know them. You may disagree with his opinions(I did on some) but he at least provides us with why be believes them.

Recommended.

Less about the myth, more about the man
Forever romanticized by his tragic and puzzling murder, John Lennon has ascended to almost god-like status in pop culture. Remembered as the visionary and dreamer who soundtracked a generation, Lennon's legacy has largely been sculpted by those who loved and admired him, as his strengths, accomplishments and inspirations shine for all to see, while his flaws and failures have been forgotten. Philip Norman believes twenty-eight years of mourning-inspired deification seems about right, and with this book, he attempts to paint a more accurate picture of the man.

The artist Norman depicts has a lot in common with the popular description of a rockstar. The poet who sang about love never missed a chance to cheat on his women, and the man who championed brotherhood and neighborly living often strong-armed and bullied his friends. Norman shows us that he never let people forget that he was John Lennon and they weren't.

His book, however, is not a hatchet-job. Intertwined with his attempts to revise the pedestalized legacy of Lennon is a thorough, faithful account of the intimate and defining moments of a life that led to a canon of music unequaled in artistic merit and inspiration. Norman's intent was to show his readers both the sour and the sweet.

He achieves his goal in part with impressive, exclusive interaction with Yoko One, Paul McCartney, Producer George Martin and others. To those interviews, Norman adds research and his own conjecture and formulates theories about Lennon's mother's death and (what is sure to be the focus of much of this book's publicity) questions about whether Lennon harbored any homosexual tendencies/curiosities.

Norman's success is creating an account of an irresistible human being who has less in common with an Olympian figure than he does with the people who will be flipping through the book's pages. With that achievement, he has probably created the first genuine biography of the man who history has transformed into a mythic figure lacking authenticity and humanity.

Life of a Beatle
Most beloved public figures have many facets -- some of them nasty, some of them pleasant and admirable. Most biographies either focus on the good, or the bad.

But fortunately, Philip Norman is making a valiant effort to show, if not all of John Lennon's facets, then as many of them as possible. Having explored the Beatles and their impact on a generation, Norman narrows his focus down to "John Lennon: The Life" -- and he does a superb job unearthing the many details, relationships and differing faces of this much-lamented rock star. We'll never get a John Lennon autobiography, but Norman does a pretty good job of getting inside his shaggy head.

John Lennon was born into an incredibly stormy marriage (which broke up soon after) and raised by his loving, strict Aunt Mimi, though he was something of a hellraising trickster as a child. The one blot: the tragic, shocking death of his mother Julia.

Of course, everyone knows what happened later -- after a brief stint at art school, Lennon became part of a band with an ever-shifting name, and started working on pop songs alongside Paul McCartney. Though briefly devastated by the death of a bandmate, Lennon quickly rose to fame and fortune when the renamed Beatles became not just a hit band, but a new way of life for the youth of Britain, and then the entire world. Hit album after hit album poured from the Beatles, along with the usual rock-star intake of drugs, sex and occasional PR disasters.

But Lennon's interests began to stray in more spiritual directions, and as his marriage to the sweet-natured Cynthia fell apart, he met and fell in love with eccentric Japanese artist Yoko Ono. Suddenly he was devoting himself not to pop hits, but to experimental numbers, "bed-ins" and sitting in bags, and using his world-wide celebrity for the furtherance of peace. While this lifestyle didn't quite tame Lennon's wild side, it led to new focuses in his life -- until it was tragically cut short.

You have to hand it to Philip Norman. While most biographers tend to portray Lennon as a hippie saint or a hopeless jerk, he tries very hard to find a happy medium that encompasses all of Lennon's personality: a flawed man who had a boatload of issues and could be both cruel and kind. While he gets a bit worshipy in the latter parts of Lennon's life, Norman does a pretty good portraying both the musician and those around him in a realistic, compelling light.

Additionally, Norman gives as much careful attention to Lennon's youth as he does to the Beatlemania and John/Yoko years -- in particular, his relationships to his mother, Aunt Mimi, Paul McCartney and the delicate artist Stu, as well as the months and years as a struggling young musician. There's lots of pop psychology, but it works.

In he meantime, Lennon's life is carefully framed in the political and social climes of the time -- the post-war fifties, colourful psychedelic chaos of the 1960s, and the later, grimmer times of the Vietnam War. Politicians, pop art, Liverpudlian slang and changing societies are all explored in detail, and Norman has the perspectives of a lot of people who actually lived in the time and knew Lennon -- his wives, his sons, his bandmates, and even his Aunt Mimi (and she gets a LOT of words in).

He also injects a wry sense of humour into the story (Lennon's aunts turning up at a Beatles performance) as well as a steady, sometimes evocative writing style ("The room reeked of stale beer and wine, and was lined in dusty velvet drapes..."). At the same time, there's some pretty shocking allegations here, such as the claim that Lennon may have been inadvertently involved in the death of his bandmate, but Norman avoids tabloid journalism by explaining why he doubts Lennon actually did any of that.

Lennon himself is a colourful mosaic of seemingly contradictory qualities -- he could be mean-spirited (mocking the disabled), wild, kindly, romantic, neglectful, vibrant, brilliantly unconventional and craving a spirituality that's hard to get when you're filthy rich. As seen by Norman, much of his personality seems to be based on the fear of loved ones dying and leaving him, but we get glimpses of dozens of different sides to his psyche.

"John Lennon: The Life" attempts to accurately portray one of the twentieth century's most unconventional and beloved pop stars, and for the most part, Philip Norman does a brilliant job.