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| Tori Amos: Piece by Piece | 
 enlarge | Authors: Tori Amos, Ann Powers
Publisher: Broadway
Category: Book
List Price: $15.95
Buy Used: $2.77
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Avg. Customer Rating:  43 reviews
Sales Rank: 173537
Media: Paperback
Number Of Items: 1
Pages: 368
Shipping Weight (lbs): 1
Dimensions (in): 8.1 x 6 x 0.9
ISBN: 0767916778
Dewey Decimal Number: 782.42166092
EAN: 9780767916776
ASIN: 0767916778
Publication Date: January 10, 2006
Availability: Usually ships in 1-2 business days
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Product Description
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.
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| Customer Reviews: Read 38 more reviews...
 A backstage pass February 8, 2005
45 out of 50 found this review helpful
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" February 14, 2005
33 out of 44 found this review helpful
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.
 This Is The Most Annoying Book I've Ever Read. July 11, 2005
19 out of 35 found this review helpful
Whereas some people might want to read an autobiography for say, dirt (like whatever happened with her and Michael Stipe..or her and Trent Reznor?), other people might want to read an autobiography for a true insight into how someone lives.
Well, guess what? Not gonna find any of that stuff here.
She goes on and on and on and on...nonsensically and nauseatingly and self-importantly, lapsing off into pedantic, irrelevent references to Biblical characters.
There just comes a point where a person needs to be able to step back and view herself from the outside.
There's individuality and creativity...and then there's just subjecting innocent readers (who've bought a lot of Tori Amos CDs!) to endless crap.
 Tori Amos February 10, 2005
13 out of 21 found this review helpful
Ms. Amos, known for her music as well as her contribution to RAIN, a web site dealing with abused women has given to us a powerful book on her life, the meanings behind the words she writes for her music and does so with beautifully eloquent grace.
It is part memoir and part musical prose.
This is a must read for everyone.
Other great reads include: Nightmares Echo by Katlyn Stewart and If I Knew Then by Amy Fisher
Silent all these years November 16, 2005
12 out of 19 found this review helpful
I like Tori Amos. She's quirky, she has red hair, she bangs on the piano like no other but I, for one, was really disappointed by this book
She keeps harping on about myths and I'm thinking "Tori, if I wanted to know about myths I'd buy...I don't know.... maybe a book about myths". By the end, it just gets too much.
I was bored rigid by this book. It's not that it's bad, it's just not very good. She comes across as quite self-centered which I'm quite surprised and disappointed by, as a fan.
I think I preferred it better when I didn't know who this Neil guy was or the origins of the songs. I won't ever stop loving the songs though, it's just some things need a little mystery.
I read in an article a few years ago that Tori never talks about the songs - well she's kinda talking about them now. You didn't need to talk Tori - we were already listening.
Sometimes, it's better not to reveal some things, eh T?
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