Music Books

When I received this book, I was mildly interested, having been a Beatle fan in my youth. I had not really followed the career of George Harrison post-Beatles, though I was aware of his bigger hits, and enjoyed his music. I had the generally accepted view that Harrison was a bit eccentric, reclusive, and mysterious. I was, therefore, not an intense Harrison fan, and not very educated about his music.

Having now finished the book, I feel so much more informed. Simon Leng writes excellently about George's music and what was driving it, as well as it's importance in Harrison's life and faith. Simon has been meticulous in his research, and sensitive in his discussion of a private and passionate man. Though he has far more musical knowledge than I, I found the book easy to read, and fascinating in it's detail about every song written or recorded by Harrison in his solo career. So much so, in fact, that I am off to buy a George Harrison album or two! Thanks, Simon.

I was given this book when I was convalescing in hospital. To be honest I would not have chosen a book about the life and music of George Harrison. However, from the very first chapter I found myself being drawn along a path of exploration about the life's work of George, a person whom I now realise had a tremendous influence on the musical tastes of my entire generation (I'm 52) and the generations that have come after me.
Sure, before reading the book I knew who many of the influential characters were such as Ravi Shankar, John Barham, Eric Clapton and of course the Beatles. But I didn't realise how closely their lives were intertwined and how their geniuses spun off each other.
Most of all I was struck by the spiritual influences on George. How he wasn't really searching for money or fame. It was the music and it was pursuing excellence as a means to knowing one's inner self.
Simon Leng's writing is concise, witty, even satyrical in places. At the same time the author shows himself to be very learned, thoroughly researched and very organised in terms of discography, cross references and building his line of argument in a chronological timeframe.
'The Music of George Harrison : While My Guitar Gently Weeps' by Simon Leng is easy to read, it keeps your interest and it leaves you with a feeling of enrichment.

Having already read a number of books about the Beatles I was hoping for a good insight into George Harrison and his music and this does not disappoint! The author provies an excellent balance between being informative about Harrison's music without falling into the "trainspotter element" of writing about an artist. The book is well researched and highly entertaining with a pleasant dry sense of humour. Especially interesting are the details of Harrison's early work and influences and the Clapton connection. If you are looking for a god insight into Harrison's work or dimply a damm good read, then look no further!
Highly recommended!

Not only does this book tell about George's solo work in non-technical, easy to read language, it also gives some great biographical information. In writing about his strenths as well as his shortcomings as a songwriter, singer, and musician, Leng neither idolizes nor condemns, but portrays George as a human being who made mistakes like everyone. His respect for George and his work clearly comes through. I highly recommend this book!

When I received this book, I was mildly interested, having been a Beatle fan in my youth. I had not really followed the career of George Harrison post-Beatles, though I was aware of his bigger hits, and enjoyed his music. I had the generally accepted view that Harrison was a bit eccentric, reclusive, and mysterious. I was, therefore, not an intense Harrison fan, and not very educated about his music.

Having now finished the book, I feel so much more informed. Simon Leng writes excellently about George's music and what was driving it, as well as it's importance in Harrison's life and faith. Simon has been meticulous in his research, and sensitive in his discussion of a private and passionate man. Though he has far more musical knowledge than I, I found the book easy to read, and fascinating in it's detail about every song written or recorded by Harrison in his solo career. So much so, in fact, that I am off to buy a George Harrison album or two! Thanks, Simon.

Weather you in the business or getting into it, this book is essential. Even if you have a lawyer. Good insight...

This book is so crammed with info and knowledge coupled with insight into practices of the industry and courts its like attending a credited law school.With basic torts and concideration of all parts and many elemental workings of the industry.It is a must have.

This is comprehensive & each chapter was written by another expert, so you're bound to like something!

This can be a substitute to the book: "Everything You Need To Know About The Music Business" (Donald Passman)

This book was a required text in my Legal Problems of the Recording Industry class. I'm passionate about the music industry and can give a good debate, but am far from being a "legal mind." This text is great for those, like me, are not the best students in legal courses. This text breaks down real contracts/ agreements into easy to understand formats, section by section. If it wasn't for this text I wouldn't have made an A in the course. This book should be required reading for those in the music business as well as the musicians who will be facing these agreements. Plus, it's like my professor said 'remember, everything is negotiable - don't get screwed in your contract!'

People think music business is all about creation and keeping the fans happy. Well it mostly is but a young artist can become stuck in all that legal stuff. For somebody who is new that can be very difficult and people could take advantage of this and try to cheat you so this book is about all the legal involved aspects of the music business. This book will offer you a detailed explanation of everything that concerns the people in the music business. After you read it you will know what to avoid and understand the issues as they are explained in an easy and franc manner.

This revised edition of a musician's classic handbook offers even more exclusive interviews and information on what really happens behind closed doors, revising thirteen chapters covering all aspects of the music industry, from royalties and attorney fees to the costs of bookkeepers and managers. Musicians and any library catering to them will find Borg uses his experience as a touring artist and music educator to provide key insider's observations about common and hidden pitfalls throughout the industry, making for an invaluable set of lessons.

This book basically covers everything you need to know as a professional musician, from club gigs to arena rock. The information is clearly and concisely laid out, and in a way that is very easy to navigate. I would greatly recommend this book to any aspiring musician.

This book is full of tons of usefull information,and can serve a guide to help non experienced musicians on their journey.

This book is absolutely great if you are working in, or aiming to work in the music industry. The information is extremely useful and helpful, and without reading it, I would not have known about many of the important topics and common terms that this book covers. I highly recommend this book, it is easy to read and interesting and a must have for anyone who wants to get into the industry.

Bobby Borg has penned an excellent guide to the music industry. The 288 page soft cover book, "The Musician's Handbook" is jam packed with clear information on what you need to do to accomplish your goals.

Building from Chapter 1: Important Tips to Consider On Your Path to Success to the Afterword: The Future of the Music Business, Bobby lays out the tips, techniques and tools to help you build your career and avoid many of the pitfalls of the music industry.

While there are a number of music industry books that describe how to deal with copyrites, finding the key players in your career, what to look for in a record deal etc Bobby takes it a step further. In the first chapter, Bobby shares dozens of tips to help you get started - the basics. For the new musician starting out Chapter 1 is a true gift that can save literally hours of time. When my singer/songwriter daughter was making her first demo we felt showing her range and diversity was key. Even though she knew she wanted to sing pop, we spent hours looking for songs that would show how she could "sing everything". We weren't sure how many songs to include on her CD, what her press kit should include etc. We figured this out through trial and error and asking lots of questions, had we had Bobby's book we could have saved a lot of time. My daughter has been approached with tons of offers both real and fake. We have learned to not take things at face value, to check everything out, to get things in writing. We spent a lot of time that you can save by reading the first chapter. This first chapter also includes info on what makes a song a hit, networking and more.

Though the book explains some pretty complex information, Bobby writes in a clear, easy to read style and includes lots of anecdotes to spice up the text. Each chapter covers the topic in great detail. The chapter on Live Performing and Touring for example, covers the nitty gritty of the costs and realities of live performing. Information runs the gamut from the early stages of touring to touring in the big leagues, different ways you can be paid, contracts and riders, getting the gigs and more. And it includes fascinating little sidenotes like the Top Ten Rider Countdown (Iggy Pop requested a Bob Hope impersonator be backstage!)

Chapters include Chapter 1: Important Tips to Consider on Your Path to Success Chapter 2: Band Membership Chapter 3: Contract Employment and Self-Employment Chapter 4: Solo Artist and Employer Chapter 5: Your Attorney Chapter 6: Your Personal Manager Chapter 7: Your Business Manager Chapter 8: Your Talent Agent Chapter 9: Your Record Producer Chapter 10: Record Royalties, Advances and Deals Chapter11: Music Publishing Chapter 12: Live Performing and Touring Chapter 13: Merchandising Afterword: The Future of the Music Business. Borg also includes an index at the back, so you can access the information you need quickly. A number of resources are given throughout the text; where to share your music for podcast purposes, unions, performining rights organizations, recommended books etc.

Overall an outstanding resource for the new musician and an excellent guide and sourcebook for the accomplished artist. Highly recommended!

~ Lee Mellott

This book has stayed with me like few other things, since reading it many years ago. I often find occasion to quote from it; brilliantly witty, charming, scathing and life affirming all at once. Bunuel led an unusual life, but his autobiography is filled with universal truths to which any reader can immediately relate. Buy it at once, and you will find yourself reaching for it often...

An interesting short semi-bio, in whuch Luis speaks about his life and the people he has met.

Bunuel gave some interviews towards the end of his life discussing his long list of movies. That's why I was delighted to find that his autobiography--which is one of the greatest, if not the greatest by a filmmaker--does not dwell on them. Instead Don Luis chronicles his childhood and upbringing, the relationships he cultivated, and meditates on life, love, death, art, alcohol and cigarettes. Many of the stories from his younger days are even more surreal than his movies. He writes in detail about his stormy friendships with Garcia Lorca and Dali, about his half-hearted attempt to try Hollywood on for size, meetings with Hitchcock, Fritz Lang, and others. The book is not somber or sentimental, it's not over-inflated. Bunuel's voice does not intimidate, it soothes. He's a master storyteller, a very gifted and generous writer.

As a young person, don Luis helped me find my way out of the hormone fog, ... authoritarian adults and their institutions, and equally lost peers. Years later upon reading MY LAST SIGH, I was not surprised at all at the depth of don Luis' humanity and intelligence.

Nevermind the moniker "filmmaker" when talking about don Luis; he is an artist's artist. With his autobio, he only confirms what an equally supreme being he was. I miss him. However, encounter this book and become lit by life itself.

Writings by film directors tend to resemble their films, and "My Last Sigh" is no exception. Bunuel's films are anarchic, funny, unpredictable, subversive, and often disturbing in a way that's hard to pin down. So is this, his autobiography!

Though he disclaims literary talent, Bunuel turns out to be a wonderful writer, and the book is stuffed with piquant anecdotes and elegant observations. I'm afraid to quote examples, because this review would go on forever. Suffice to say that, if you could choose to live any person's life, Bunuel's would be a hard choice to beat, just for the adventure and entertainment value. This may be my favorite book written by a filmmaker.

This is a great and comprehensive resource for any orchestra librarian or administrator! A Must Have!

Daniel's Orchestral Music is an amazing resource. As a music librarian, I find it indespensible. It is huge time saver, with loads of information all in one convenient package. I particularly like the updated instrumentation format, which is easier to understand and gives more complete information.

This is my bible! Could not live without it. Far surpasses all previous editions.

This book is a necessity for any conductor, orchestra librarian, or artistic director as it is an invaluable resource. It is significantly more comprehensive than the previous edition but nonetheless is a work in progress, missing many great, but obscure composers. The inclusion of the various appendixes with catagorization by duration, composer nationality, etc. are extremely useful. All being said, it is an essential part of any serious musician's library and will serve you well.

The fourth edition of Daniels' handbook is a must for anyone involved in selecting repertoire for the symphony orchestra. The appendices are extremely helpful, the precise instrumentation for percussion and auxilary instruments is valuable, and the listing of nationality, birth/death dates and places for the composers is useful. This handbook is truly a time-saving and informative reference work.

This book is impressively well written with a dry, concise and insightful tone. This book is not against perfectionism, but against the idea that mistakes should be always avoided, even during practice. The author suggests that music should be performed with a strong body awareness, and that this should be cultivated during practice in a way that is a sort of dialogue between ourselves and our bodies; in this dialogue, errors are a way for our bodies to communicate with us, so we should be able to make them boldly and then recover from them as much information as we can. This, in the end, makes the correction of the error deeper, and our performances more confident.

The book is not a step-by-step guide to practicing using this method; it's more a pedagogic book detailing the philosophy behind this approach. Still, it's very though provoking even for non teachers and for amateurs musicians, especially adults returning to music after previous bitter experiences.

This book is absolutely enjoyable to read. I just couldn't stop reading it...I did not want to continue practicing without hearing all that William Westney had to say about practicing techniques (for any instrument, though mainly piano) and musicality. He uses great resources if you want to learn more about what he writes. His focus is getting in touch with the innate musician within you...a very positive and motivating book...highly recommended.

This is my favorite book about music-making (classical piano, in my case). Westney very convincingly makes the case for an overhaul of the way we approach music practice and performance. The 'juicy wrong note' idea promotes a wholistic, passionate attitude. It is NOT the idea of treating mistakes lightly...more, it's the attitude of making the mistake whole-heartedly and then learning what it has to tell you about your level of preparedness,an unsuspected weak point, etc. Westney does not cover specific how-to's (the best book on that for piano in my opinion is Berman's) but more the philosophy to bring to the practice room and to the performance. I'd give more stars if it were possible

Not really being part of the culture to which the author is reacting, I found this book to be captivating, if a bit strident. The unfortunate tendency towards perfectionism taints a great deal more than music instruction. The expectations of deference and respect on the basis of position weaken bishops and U.S. presidents as well as maestros and music teachers. Still, the control freak element runs deep. As an adult beginner taking piano lessons, I just see it from a different perspective. Take humor in the strutting of the popinjay, no need to be alarmed by it.

Also, the man either knows nothing about golf, or else cheats on his scorecard. I suspect the former rather than the latter. But, a recorded lousy golf swing is just a lousy golf swing, while one left off the scorecard is, well, a reflection of character.

However, on his home ground, the practice room and the recital stage, the author is very strong. Texas Tech is lucky to have him. Go, Red Raiders!

If you want to truly refresh your thinking about teaching music, this is the book. Explore with the author ways to bring enthusiasm and joy into the learning process... how to use 'honest mistakes" as tools. Be prepared to learn why traditional methods can sometimes harness creativity. This book described for me a way to help my students relax and welcome the journey into music. Whether teaching by traditional methods or not, this book is a must. Thanks, Mr. Westney, for the great read and the inspiring words.

I begin with a paraphrase from Rosen's book, "A review should cultivate a certain humility before a really fine pianist and writer." Rosen is both. In fact, the man is so talented as to be somewhat intimidating. Not only is he a world-class pianist, he has written volumes on various musical subjects, holds a doctorate in French literature from Princeton, and has served on the faculty at the University of Chicago. He is one of America's remaining public intellectuals.
Rosen's earlier works, "Sonata Forms," "The Classical Style," and "The Romantic Generation," have all entered the canon of works that are absolutely essential for the well-informed musician and critic. "Piano Notes" takes a lighter approach: it is part memoir, part anecdote, always highly opinionated, with some choice gossip thrown in. Often, his tongue is firmly planted in cheek. In other words, it's great reading.
In relatively few well-chosen words, Rosen offers his considered opinions on topics as diverse as Bach performance, piano tuning and regulation, shenanigans in the recording studio, piano conservatories and competitions, the uses and misuses of concerts and recitals, and the best method of piano practicing for pure technique--reading while practicing, but scrupulously avoiding poetry and "really admirable prose" because these interfere with the rhythm of the music. "The most useful, I have found for myself, are detective stories, sociology and literary criticism. However, any reading matter that distracts the mind without engaging the senses or the emotions too powerfully will work." (p. 40).
Rosen believes the traditional piano recital, complete with grand piano, darkened hall, and the costumed pianist as high priest, is on the way out, largely because of the relative ease of acquiring fine recorded performances of most of the repertoire. I for one hope he's wrong. There is something marvelous, as Rosen points out, in caressing those ivory and ebony keys, and having music come out. The person who has never experienced that will never understand the blissful expression on the faces of so many pianists when they can share music with others. But those of us lucky enough to have felt music flow from our fingers and to have placed themselves and others under its thrall, will completely understand when Rosen when rhapsodizes of the pianist's fetishistic need for physical contact with the ebony and ivory, and of the inexpressible beauty that results.

Enjoyable and wonderful. Well written, to the point...many anecdotes, but never mean...informative.

A great buy. Makes great present to anyone who is even vaguely interested in piano literature or music in general.

I didn't know Charles Rosen from a hole in the ground before I picked this up; I'm just a piano enthusiast. His personality comes through in his writing as he reflects on past concerts and recordings and travels and the likes. Not a memoir, but I suppose something pretty close to it. He essentially goes on about the different facets of being a pianist and if you eat breathe and sleep piano, you're sure to enjoy this. His writing style is polished and rather dignified, without being pedantic or scholarly. Heck I wanna go out and buy all this guy's books and records now. The only reason I didn't give it five stars is because it took me some getting used to at the first chapter, but once I adjusted to the fact that he's world class material and I'm just a schmuck doing scales, it was all smooth sailing from there.

It's getting so that if Charles Rosen announced a forthcoming book on the collective memories of his summer vacations during his youth kind of thing, I would buy it! Bottom line, and obviously what I'm saying here is that I like the way he writes 'all' of his books, what he has to say and how he says it! A style that both holds and informs if you will. So too, he's "been the road" so the contents of these books draw on the cumulative wealth of his experiences whether it's a discussion of Beethoven's sonatas, the classical era itself and its stand-outs or this present book on the world of the pianist.

Regardless of one's level of experience on the piano, this book is an excellent read from a man who knows what he is talking about. It is NOT a book zeroing in on posture or breathing or "don't bang the keys" recitations or 'lectures' but rather a nitty-gritty practical tome that touches on various areas and what life with the keys is all about. The ups and the downs and all in between.

BTW, if books like these appeal to you written by folks who have "been there, done that" albeit well 'verifiably' so as is the case with Mr. Rosen, and as they equally appeal to me when I can locate such informative tomes, and as a classical oriented player making no excuses for literally loving the classical war-horse pieces, check out "Piano Pieces" by Russell Sherman [New England Conservatory]. Another great read!

Doc Tony

As a pianist I stand in awe of Charles Rosen's phenomenal analysis and exposure of the life, status, mind, intellect and passion of one of our most celebrated pianists. If there were ever any doubt about why one plays the piano, here is the answer. This is another MUST HAVE for any honest and serious pianist, either amateur or professional.

In the heat of creation, most of us forget that after the smoke clears - music is a business. Some of us assume that if we are lucky enough to "Make It" - there will be someone else to take care of the day to day details for us - while we sculpt the next masterpiece. It is a deadly assumtion and many who thought they were through the Golden Door awoke to the Crash and Burn - as their careers and money vanished into the vapors. First read Tom Petty's intro. Very sobering. And what follows from the pen of Mr Wixen is really very straight forward and layed out for the most simple of us to understand. He points out at the end of one particular chapter that if you've absorbed the information within, you now know more about copyright law and business - than most of the people who run the Music Business. This is the best survival guide I ever found and I've recomended it to all of my fellow musicians. (And I know a few)

I went to college in Nashville and took a publishing class. This book was more practical than the entire semester!

This is a great book for those that are confused by music publishing. I read it and I am now comfortable with music publishing. it gave me enough information that Iknow what is going on as I work with music publishers. It also gave me guidanc eto know what to do when the time comes for me to start my own publishing company.

Has some insight about how to get put on, but not much more than I already knew about.

My son, a music composer, asked for this book as a gift and found it very helpful. He istrying to get some of his work published.

I have recieved my score for the planets suite and this score is just what I wanted. The book is about A4 size and is very easy to hold, read and handle. The print size is fine for studying the score or just scanning while you listen. I am very happy with my score.

What more can be said about Holst's masterpiece "The Planets" which has not already been said been? To be sure, the music is a work of genius; therefore, I wish to comment more about the quality of Dover's printed score. This publication is a quality product. The engraving is primo (a reproduction of the 1921 Goodwin & Tabb Ltd. original); it is easily legible, accurate, and looks wonderful. Obviously, the original engravers were at the top of their game on this one, and Dover has done a terrific job of transferring the plates; it's as clean as one could wish for in an affordable study score. Even in soft-cover, the binding is durable and the pages lay flat. The inclusion of a commentary or brief analysis would have been a welcome addition, but that is a very small gripe against an otherwise fantastic publication. I give it my highest recommendation.

I went through this score several times with multiple recordings and it is to the tee. All the movements are in the book, in concert order, the score was written out in the proper key. If you're trying to find a score for the Planets, This is the one without having to buy the actual performance score.

This Dover score presents everything in a clear and easy-to-read way even though Holst wrote some interesting things that are difficult to notate by ear! The score does open up a new world - listening to it and reading/watching the score are two different things. I was completely unaware of Holst's gigantic forces and his wonderful orchestration that is present in the score.

There's no see through on the pages (and where there is, it is only minimal). Main languages are English and Italian terms. For an 80-year old score, it's pretty impressive and in very good condition. A very good buy I must say for $10 - my friend had to pay close to $70 for her copy (both of which are exactly the same). A great bargain!

Clean, clear, large print, handsome edition of this well known and loved classic. Lists instrumentation on every page (some editions don't list the score instrumentation except for the first page. This often makes score study [especially big orchestral works like this or R. Strauss] very hard to read).

Great price as well.

This book was super amazingly crazy popular in Sweden. It was widely adored, and also made into a film. The reviews of the English translation have also been glowing, and words like "luminous" were thrown around as though they cost absolutely nothing instead of 50 cents.

I feel as though I must have missed something BIG. After I looked at the reviews (I generally don't look at 'em until after I'm done with a book) I found myself paging back through the book, looking for what everybody found so wildly new and exciting.

Don't get me wrong, I didn't hate the book. I thought that it was a nice little coming of age story, made interesting by the theme of the impact that popular music can have in the midst of isolation. The fact that it is set in Norrbotten made it particularly interesting for me. (I actually would really like to visit Haparanda sometime, but that's a different story.)

No, my issue is that I am not really sure why there is so much to love about it. I'm not sure if it is the translation or the writing, but I find the prose kind of clunky in places-- not luminous, whatever that means. It has its moments where it gathers itself to take flight, and almost succeeds. But then I found it sank back down into more predictable sociology of the far north-- saunas and schnapps and what not.

Anyhow, I would recommend the novel, but with reservations. It was a quick smooth read, and interesting enough. Particularly if you have an interest in Swedes or Sweden, it is worth the time to read.

This novel was recommended to me by fiddler Colm O'Riain and poet Pireeni Sundaralingam, both much more cosmopolitan than I. They keep in better touch with great European writing. It's as wonderful as they said it would be, and hard to describe because Vittula is truly another world, a least as Niemi portrays it. Picture kids at the far end of nowhere trying to make out the Beatles on short wave radio and practicing on broomstick guitars. Picture winter-goofy Scandinavian men with too much to drink, too long in the sweathouse, and too little to shoot at--in a funny/weird sort of way! Really, this book will take you to place you'll remember more vividly and strangely fondly than most of the places you've actually been. Take Me With You When You GoNutty to Meet You! Dr. Peanut Book #1

Growing up anyplace isn't smooth, it isn't describable exactly. If you search your memories later, trying to ask why you did something, you can't, for the life of you, remember why. You just did it. Things happened. You tried to get to China. You mimicked the rock stars when you thought you were alone. You might even have licked cold locks---if you grew up in northern climes--- and got your tongue stuck. You were never the hero of your own legend. Well, folks, this novel captures that confusion perfectly. I've never set foot in Sweden, let alone in its far north by the Finnish border, where all the growing up takes place. But now I feel I know what it was like. Niemi's description, magical realism and all, gives you such joy, such interest, that I assure you, you will read POPULAR MUSIC IN VITTULA as quickly as you can. I haven't laughed out loud over a book so much for years. Hey, I even laughed in the Boston subway like some kind of weird, public transport cackler. But I didn't care. Kids fight in the woods with B-B guns, try to start rock bands to impress girls, experiment with sex and alcohol, get up the teacher's nose, visit scary old healers, watch the grownups pass out at huge drinkups, and dream of fast cars. In the very end, things turn out quite differently, but that's really familiar too. Most of the themes are hardly unique to the area, but it's Niemi's genius that he makes you feel it exotic and familiar at the same time. It's contemporary writing at its best and I think all readers in English owe a vote of thanks to the translator too.

You've got to have a strong stomach for a couple sections, say for example, if large piles of dead mice are not your forte. If you have ever seen Kaurismaki films like "Leningrad Cowboys Go America" or "The Man without a Past", you will recognize the same deadpan Finnish humor in Niemi's novel, whose characters are mainly from the Finnish minority in Sweden's rural north. I could recount a scene or two for the surfing reader, try to "deconstruct" whatever, go literary if I could, but your best bet would be to read the book. You will not regret it.

This is one of those gems that would never have been published in the US unless it came in with some momentum and buzz from afar. It describes adolesence, dipping deeply into the well, stringing together a series of vignettes that are well tied together. I'm a 54-year old businessman, parts of the book were agonizing and I actually found myself squinting through my fingers in raw embarassment. The wedding chapter was tremendous.
jk

If you're looking for a funny and tender coming-of-age story set above the Arctic Circle, this is the book for you! It's set in Pajala, a small town in the remote Tornedalen region of Sweden, far north and near the Finnish border. The semi-autobiographical story is told through a series of twenty self-contained short stories that take Matti roughly from age 5-15 or so from the mid-'60s to mid-'70s. One is immediately given a taste of the book's style in the prologue, in which the adult Matti manages to freeze his tongue to a metal plaque atop a Nepalese mountain. He only manages to free himself (and live) by using his urine to break the bond, which then launches him into the story of his youth. The broad outlines of his experiences are similar to those of any other boy growing up in a remote place forty years ago. Life was boring and filled with hard work, some things were manly (hunting, work, fighting, hockey, eating, drinking, machines), and everything else is "women's work." If you're not good at manly things, well... at a minimum you won't fit in very well.

Of course, Matti is a little outside the mainstream, but manages to make his way with best friend Niila by his side. Where the book shines is in the the specifics of his childhood, in which wacky antics shine with humor and pathos, and magic realism rears its head every now and then. Some of the events covered include: discovering rock and roll music via the Beatles, a summer job as a mouse hunter, a raucous arm wrestling contest, an equally grueling sauna endurance contest, a sermon in Esperanto, a mind-boggling teenage drinking contest, tall tales of family prowess, a will reading degenerating into a brawl, starting a band with a cardboard guitar, the vagaries of a fundamentalist Christian sect (Laestadianism), first sexual encounters, and a BB-gun war. And let's not forget the transsexual hermit magician... All these individual parts are quite entertaining, even if they never quite add up to a complete hole. It's an amusing, and sometimes very funny look at growing up rural which would probably resonate much more with other remote cold climate dwellers than the average reader. A welcome oddball addition to the coming-of-age genre.

Note: The book was a runaway bestseller in Sweden, selling one copy for every twelve Swedes! Naturally, the book has been adapted as a film--which was co-written and directed by an Iranian who immigrated to Sweden as a teenager!