Product Description

An intimate, eye-opening look inside the life of one of the most unique and adored performers of contemporary rock music

From her critically acclaimed 1992 debut, Little Earthquakes, to the recent hit, Scarlet’s Walk, Tori Amos has been a formidable force in contemporary music, with one of the most dedicated fan bases in the industry. In Tori Amos: Piece by Piece, the singer herself takes readers beyond the mere facts, explaining the specifics of her creative process—how her songs go from ideas and melodies to recordings and passionately performed concert pieces.

Written with acclaimed music journalist Ann Powers, Tori Amos: Piece by Piece is a firsthand account of the most intricate and intimate details of Amos’s life as both a private individual and a very public performing musician. In passionate and informative prose, Amos explains how her songs come to her and how she records and then performs them for audiences everywhere, all the while connecting with listeners across the world and maintaining her own family life (which includes raising a young daughter). But it is also much more, a verbal collage made by two strong female voices—and the voices of those closest to Amos—that calls upon genealogy, myth, and folklore to express Amos’s unique and fascinating personal history. In short, we see the pieces that make up—as Amos herself puts it—“the woman we call Tori.”

With photos taken especially for this book by the photographer Loren Haynes, Tori Amos: Piece by Piece is a rare treat for both Tori listeners and newcomers alike, a look into the heart and mind of an extraordinary musician.


I choose to fight my battles through my music . . . I was born a feminist. And then at age five, when my strict Christian grandmother punished me, I realized, I’m not penetrating here. I’m just pissing people off. So I had to find another way to penetrate. I had to redefine what that word means. That word now is really about an opening, an entering into a separate space. And after the first phase of my life, I realized that it was okay to enter that space without having to be invaded . . . I like the idea of just being able to be inside. Not using penetration as a violent word. The idea of being able to find keys . . . music, using keys to get into a space that we couldn’t before . . .

Now, backstage at an undisclosed arena where the sweat of athletes is still perfuming my makeshift dressing room, my many conversations with Ann Powers have begun . . .

“You come from the journalist side. I come from the artist side. It can become offensive. I’m sure from your side as well as from mine.”

“Well, it’s true everyone expects us to be enemies. And in some ways we are. My job is interpretation. Yours is art, which often benefits from mystery . . .”

Ann and I decided to strip our roles back to basics. We are both women born feminists in the 1960s. We are both married. We are both mothers. We are both in the music industry. Traditionally we are enemies. But for this project to be effective, I had to allow Ann to expose Tori Amos. And Tori Amos’s inner circle. And me.”

– from the Introduction

BUY TORI AMOS’S LATEST RECORDING, THE BEEKEEPER, ON EPIC RECORDS

Product Details

• Amazon Sales Rank: #252209 in Books
• Published on: 2005-02-08
• Released on: 2005-02-08
• Number of items: 1
• Binding: Hardcover
• 368 pages

From Publishers Weekly
After over a decade of making big-selling albums, but also being pigeonholed as an eccentric New Age princess, singer/songwriter Amos redefines her image in this appealing mishmash (coauthored with critic and Experience Music Project curator Powers) of her essays, quotes from her conversations with Powers and oral history observations from her band mates, husband, managers and friends. Readers may still find a few sprinklings of fairy dust in the proceedings, but Amos comes across as thoughtful, likable and witty, fully aware of her role as a female musician in the mainstream pop world yet determined to keep her work true to her spiritual and feminist perspectives. The book's structure lets Amos and Powers retain elements of a traditional biography--they candidly detail Amos's family history, her shaky entry into the music business, her relationships with formal religion and her multiple miscarriages before giving birth to her daughter--but it sidesteps a straightforward "this is my life" story line and lets Amos focus on how her experiences have shaped her songs. Powers and Amos also discuss practical issues about the music business and the roles female artists can take--or sometimes can't take--in controlling their public personae. With undoubted appeal to Amos's legion of fans, the book could offer additional interest to artists of all stripes, who may find reflections of their own experiences in hers. Illus. Agents, the Bridge Entertainment Group and Sarah Lazin. (Feb.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
*Starred Review* Amos' music is the stuff of legend, literally: haunting music paired with lyrics that often mix mythology with the deeply personal. Her first book is a series of conversations between herself and journalist Ann Powers, with contributions from the people closest to her, such as her husband and the members of her band. The conversations run the gamut: Amos muses on everything from mythology and religion to songwriting to the hardships and joys of touring. But what really makes the book brilliant is Amos' interest in examining the roots of creativity and femininity. Her ruminations on creativity will resonate with any artist who has ever felt a kind of divine inspiration. Her observations about the challenge of the reconciling of the sexual and the sacred in women are equally astute. Amos also reveals a great deal about her personal history and family influences, from the maternal grandfather who shared rich Cherokee stories with her to the paternal grandmother who sought to control Amos' behavior through religion. Amos frankly discusses finding her own space and power in a world full of mixed messages and judgmental attitudes. Fans will also particularly enjoy the sections in which Amos analyzes the specific inspirations for several of her songs. Not just utterly engrossing, Amos' book is inspiring. Kristine Huntley
Copyright © American Library Association. All rights reserved

Review
“Fascinating.” —Atlanta Journal-Constitution

“Amos comes across as thoughtful, likable, and witty . . . With undoubted appeal to Amos’s legion of fans, [Piece by Piece] could offer additional interest to artists of all stripes, who may find reflections of their own experiences in hers.” —Publishers Weekly

“No mere star memoir . . . it’s more like a soul-map of Amos’s stride from pop tart to poet provocateur.” —Blender


From the Trade Paperback edition.

Customer Reviews

A backstage pass
This book records an ongoing dialog between musician/songwriter Tori Amos (Little Earthquakes) and rockumentarian Ann Powers (Weird Like Us: My Bohemian America, Women Write About Rock, Pop and Rap. Through a variety of conversations, Amos discusses her music, her personal life and the direction of her career.

With sensual and stunning lyrics, Amos is a presence to be reckoned with, a young woman on the cusp of a great musical career with seven successful albums already to her credit. It would be a mistake to misinterpret Tori's passion as an expression of sexuality: "for her it's claiming her sexuality and merging it with her spirituality." Every performance is transformative, an expression of the immediacy of her emotions linked to the keyboard beneath her dancing fingers.

Piece by Piece is an intriguing concept. Using a multi-part format, the authors draw from a number of sources, a collage of thoughts, past history and musical perceptions that give some idea of how involved the artist is with her work, her family, friends and life as a musician and songwriter. Every aspect of Amos' like is examined, the personal as well as the professional, because Amos uses all of her experience to inform her music, the passionate expression of a young woman with much to offer. Amos imbues her work with the spirit of her soulful journey, cherishing her hard-one relationships with husband and child and the source of her creativity.

Powers witnesses Amos' words, often expounding on the meanings in a broader context of artist in the world, adding another dimension to the musical achievement. Surprisingly complex, Piece by Piece brims with unexpected insights, musical interpretations and a view of the world through the eyes of an artist who is not intimidated by life. Archetypes loom large in the discussions between Amos and Powers, who frequently wax philosophical, drawing from the universality of human endeavors and the innate need for connections with the past.

This is a woman who has chosen Mary Magdalene as her erotic muse. Looking to her own Indian American roots, Amos dips into the gospels and oral tradition for inspiration, a deep respect for the earth and a love of books, thanks to the profound influence of her mother. Myths and archetypes abound and women are central: the Native American Corn Maiden, Demeter and Persephone, Aphrodite and Venus, an appropriate counter-balance for Mary Magdalene. Amos views the challenge this way: "to be able to traverse pop culture's addictions to imaging, all the while infusing your pencil not with lead but with estrogen."

Both conversational and thought-provoking, the dialog is enhanced by a series of photographs and "song canvases", each detailing the evolution of a particular song. Published to coincide with Amos' new album, The Beekeeper, Tori Amos, Piece by Piece is the perfect complement to a body of significant work from Amos. Whether read cover to cover or a few pages at a time, this inventive book speaks volumes on the nature of creativity and one woman's passion to speak her truth. Luan Gaines/ 2005.

"The Story Of An Unfinished Evolution"
Tori Amos Piece By Piece (2005), co-written with Ann Powers, is an examination of the manifold motivators that have allowed Amos, perhaps the hardest working woman in popular music, to successfully blaze a definitive and firmly etched trail across the face of Western culture.

As piercing, uncompromising, and deeply felt as the best of her musical compositions, the book is an outline of Amos' visionary philosophy as well as a testament of her personal and spiritual struggle. In no way a typical celebrity autobiography, Tori Amos Piece By Piece may very well become a standard popular text and survival guide for all those at odds with the dominant and increasingly narrow "consensus reality" of the West. Though the book, which acknowledges a debt to Carl Jung, lacks the harrowing originality and claustrophobic focus of the Swiss psychologist's Memories, Dreams, and Reflections (1961), it addresses some of the same ground in more brutally honest and plainly spoken language.

Like Jung and Scottish novelist Muriel Spark, Amos is unapologetic in her belief that the human race is profoundly rooted in, and a continuous reflection and manifestation of, the Divine. Like those writers, Amos is both a student of and vocal witness to the active presence of Grace in human experience.

Amos is a self-identified feminist, and the book consciously addresses women's spirituality and offers numerous practical examples of how Amos has applied her own female-centered belief system throughout her life.

However, in the broadest sense, Amos' application of the myths of Demeter, Persephone, and other female deities seems to imply that these apply exclusively to women, when, clearly, the opposite is true. The lesson of Icarus' flight is an archetypal fable that transcends gender, men as well as women experience both actual and symbolic invasions of their public, physical, spiritual, and private beings as Persephone did, and, as in the myth of Demeter, periods of spiritual sterility, inertia, and emptiness are common to both sexes.

Amos appears to believe that people are wholly defined, and hence limited to, their gender; proto-feminist Virginia Woolf and the other progressive Bloomsbury intellectuals calmly, confidently, and continuously argued against this for decades. As Amos is clearly well read in a variety of kinds of mysticism, it's unfortunate that she doesn't consider and address the transcendent individual in each person. Spirit, soul, personality, and character exist beyond mere biological gender assignment.

This is an important point, since the matter of gender, especially as it relates to aggression, continues to be one of Amos' blind spots. Like many of her musical compositions, from "Past the Mission," "The Waitress," and "Professional Widow" to "Little Amsterdam," Tori Amos Piece By Piece is charged throughout with aggression, a self-justifying defensive posture, and an open hostility of its own; as in the past, Amos doesn't seem to realize that most people, regardless of their gender or position within a specific hierarchy, feel equally self-justified when enacting overt or covert hostilities.

Thus, at least on the page, Amos frequently seems to lack a firm sense of the relativity of all things, and an understanding that all members of mankind rightly perceive themselves as vulnerable to the continuous waves of cause and effect that is human life. As the example of Amos' own puritanical grandmother should have taught her, any member of mankind, regardless of race, ethnicity, religion, gender, psychological mindset, or political ideology, is potentially capable of embodying and enacting tyrannical, fascistic, or oppressive attitudes.

A careful, inclusive study of the Greek and Roman myths clearly underscores this point (it was, after all, the female Athena who transformed Medusa from a "beautiful maiden" into a "terrible monster), which Ann Powers addresses when she writers, "Feminine power is not only a warm, nurturing thing. Furious goddesses have transformed the world since ancient times, laying waste to man's corruption, wreaking havoc until justice is served." But here Powers indulges in wishful thinking and makes the same mistake that Amos does by suggesting that women--and ancient goddesses and other female archetypes of all stripes and colors--are predominantly benign and nurturing in essence.

Jane Harrison, Carl Jung, Eric Neumann, and a host of others have written at length about negative aspect of the Female Imago or the terrifying Devouring Mother of biological fact, which eats or otherwise destroys some or all of its young when unable to care for them due to disease, famine, draught, or other natural catastrophe. It is simply incorrect to state that all or most female aggression is pure reactivity to oppressive male behavior and thus at least marginally justified; Freud's extensive work in infant and children psychology pointedly proves otherwise. Feminist scholars such as Margaret A. Murray and Camille Paglia have, to varying degrees, celebrated the fact that women have an intrinsic capacity for destruction and rapacity--just as men do. Paglia's interpretation of "Mother Nature" as indifferent at best to human life and suffering--a position underscored by the recent Tsunami disaster in Asia--is also instructive.

Even Kate Bush, who Amos has publically acknowledged as an early influence, released "Mother Stands For Comfort" on 1985's The Hounds Of Love, a song which depicts an archetypal "Smothering Mother" nurturing and protecting the human killing machine which has sprung from her womb.

Tori Amos Piece By Piece is occasionally marred when Powers objectifies Amos to too great a degree, which makes Amos sound as if she belongs alone on a very high pedestal; such language violates the otherwise genuinely human quality that dominates the text. Musicians may find Amos' advice about the music industry, which rounds out the last fourth of the book, refreshingly brisk, blunt, and helpful.

Not Quite Tori
There did seem to be something off about this book. The myth part seemed stark and seperate from who Tori is and how these roles supply the undercurrent of her life. It almost seemed as though these parts were written to make them paletable to the public - like the best-selling how-to-Pagan manuels that seem to come out at least once a month and have no real depth. Their essence didn't seem woven into the story - instead they seemed to be more like a teaching lesson and not as a spiritual inspiration or guidance.

The first few chapters actually aren't bad. I really enjoyed her talking about her Cherokee roots - but that could be that I have them myself. When she talked about her grandfather hearing the 'hum' I knew right away what she meant - and how she hears it in music instead of the steady harmonics of the earth. My ancestors did walk the Trail of Tears and I am amazed at her great-great-grandmother's strength at surviving in the mountains and then as an indentured servant. An inner strength that seems apparent in Tori today.

It is a shame that her story is main-lined basically - to the point were it looses the vividness that makes up Ms. Amos' world. I have read some of the interviews that she's given to the press and some statments that she was written before - and nothing in this book matches her unique speech. It doesn't feel like her, only a watered down version of events assumed to be 'normal'. There is a good portion of the book that revolves around her daughter, which wouldn't be a problem except that it feels like she's trying to convince us she is the mother society expects her to be. We learn more about her daughter then we ever do about her.

For the record, Ms. Amos doesn't have a problem with Jesus or with followers. What she has a problem with is Christianity and the Church because of what it's become. If you listen to her music, especilly 'God' you can almost hear the inarticulate rage of a child trying to understand and express the constriction she feels. Her grandmother was a fundamentalist, her father left med school to please his mother and became a preacher and her mother suffocated who she truely was in order to live in a Christian world. So it's understandable why she would have this rage. She almost steps off the cliff and talks about it and how it's shaped her - and then Ann Powers seems to pull her back from this unacceptable behavior and we never really get to learn more about it.

I do think that part of the problem seems to be Ann Powers, that somehow the way this book was written seems to smother Tori instead of bring her to the forefront. We only get to learn little bites of her life without ever learning why. And if you don't want to answer the 'why' behind something even once, then there is no purpose in writting the book.

I would recommend buying this book used or finding it at the library to see how it grows on you first before buying it new. The first couple chapters aren't bad and I did find the poem/lyrics to her mother "The Kindest Eyes" touching and very revealing as to how she views her mother and her early life. Probably one of the most revealing things in the book - and unfortunately one of only a few treasures.

It is an exceptional empty masterpiece.