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Begin Again: A Biography of John Cage, by Kenneth Silverman
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A man of extraordinary and seemingly limitless talents—musician, inventor, composer, poet, and even amateur mycologist—John Cage became a central figure of the avant-garde early in his life and remained at that pinnacle until his death in 1992 at the age of eighty. Award-winning biographer Kenneth Silverman gives us the first comprehensive life of this remarkable artist. Silverman begins with Cage’s childhood in interwar Los Angeles and his stay in Paris from 1930 to 1931, where immersion in the burgeoning new musical and artistic movements triggered an explosion of his creativity. Cage continued his studies in the United States with the seminal modern composer Arnold Schoenberg, and he soon began the experiments with sound and percussion instruments that would develop into his signature work with prepared piano, radio static, random noise, and silence. Cage’s unorthodox methods still influence artists in a wide range of genres and media. Silverman concurrently follows Cage’s rich personal life, from his early marriage to his lifelong personal and professional partnership with choreographer Merce Cunningham, as well as his friendships over the years with other composers, artists, philosophers, and writers.
Drawing on interviews with Cage’s contemporaries and friends and on the enormous archive of his letters and writings, and including photographs, facsimiles of musical scores, and Web links to illustrative sections of his compositions, Silverman gives us a biography of major significance: a revelatory portrait of one of the most important cultural figures of the twentieth century.
- Sales Rank: #397864 in Books
- Published on: 2012-07-11
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.40" w x 6.00" l, 1.55 pounds
- Binding: Paperback
- 496 pages
From Booklist
John Cage, whose pieces dazzled and confounded audiences for six decades, hardly seems the easiest of subjects for the biographer, but this is a well-researched, coherent, quite readable account of the composer and his work. What comes across is a man who was ferociously driven to create music and to promote it to those who could most effectively advance it. Cage was an iconoclast, yet he developed relationships—often symbiotic—with some of the iconic artists of the past century, including Arnold Schoenberg, Jasper Johns, Marcel Duchamp, Buckminster Fuller, Pierre Boulez, Robert Rauschenberg, and longtime companion Merce Cunningham. What also comes across is a humanity and openness that served Cage well in his personal life and his work, personified in his advice to young percussion student Cunningham: “You were playing everything absolutely perfectly. Now go a little further and make a few mistakes.” --Alan Moores
Review
“Begin Again is a much more nuanced picture of Cage’s personal life than has currently been available . . . What emerges most powerfully is Cage’s enormous capacity for work, together with his exceptional self-discipline as an artist and his willingness to approach every new challenge with a ‘beginner’s mind.’ For this alone it is a book worthy of being read by anyone, young or old, who is faced with the daunting task of a new creative beginning.” —John Adams, New York Times Book Review
“The life of Cage is meticulously told.” —New Yorker
“Not just an exemplary biography, but a significant contribution to the cultural history of American music.”—Kirkus, starred review
About the Author
Kenneth Silverman is professor of emeritus of English at NYU. He is the author of biographies of Edgar Allen Poe, Houdini, and Samuel F. Morse, and he has received the Pulitzer Prize for Biography and the Bancroft Prize in American History, among other prizes. He is a Fellow of the American Academy of Arts and Sciences.
Most helpful customer reviews
12 of 12 people found the following review helpful.
Great but nonessential research
By Semih
I am very impressed by the amount of research the author has accomplished. As far as I know, he has found and used sources noone else has mentioned before. Yet, I find most of this new information nonessential and, at times, unnecessary. Although he seems to be a great admirer of Cage, he doesn't give the impression that he is familiar with the essence of the arguments. I got the impression that he has collected the biographical material, put all in chronological order and composed a narrative which cannot really hide this mechanical organization in the background: you often read a somewhat detailed description of a work (without much focus on the ideas behind it), followed by the introduction of a person who became a friend of Cage (with no significant role in his creativity) or by some gossipy information. The titles of the sections reflect this mechanical chronology: "Health; Xenia; New Quarrel with Teeny," for example. Another example: if the author has found a letter to or from Cage, that letter gets mentioned at its place in the chronology no matter how irrelevant or unnecessary it may be.
This book can serve as further reading material for those who want to know a bit more about Cage (mostly as a person). For those who are looking for a better biography of John Cage, I would recommend David Revill's "The Roaring Silence" (his approach is not very objective and there seem to be some minute errors in chronology but the information is much more relevant). Apart from Cage's own "Silence" and "A Year from Monday," I would highly recommend "Conversing with Cage" by Richard Kostelanetz: it is a book compiled from many interviews given by Cage and contains lots of good information (in Cage's own words).
36 of 49 people found the following review helpful.
This guy won a Pulitzer?
By Kuru
It's hard to understand from this book how Mr. Silverman ever won a Pulitzer. This is a flaccidly written, amazingly uninteresting biography of one of America's greatest and most influential artistic thinkers. I have the following specific objections (in no particular order):
(1) An overly leering tone. The author seems to have an adolescent fascination with sexual matters. Most adult readers, however, don't really want to know about individuals' pubic area moles or choice of specific sexual positions.
(2) Nothing in this book convinces me that the author has ever heard a single note of Cage's music -- or any other music, for that matter. (Of course I'm sure he must have, but it doesn't come through in his book.) There is nothing indicating any depth of musical understanding, or even a particular love of music on the author's part.
(3) Too much interest in journalistic reviews. I haven't counted to prove the point, but I suspect more words are devoted to describing what critics wrote about Cage's music than to the music itself.
(4) An apparent unwillingness to understand anything remotely technical. At various places in the book, the author refers to semi-technical engineering and music matters with a baffled tone more appropriate for an anti-intellectual making fun of "big words" than for an NYU professor.
(5) There is little if anything new in this book. Nothing suggestive of reflective probing or careful original research. Why did it need to be written?
13 of 18 people found the following review helpful.
Sex but not Music
By Robert McClure
Silverman's book offers very little about Cage's music or the circumstances surrounding the music. He leaves out important stories such as the reason for the creation of the prepared piano was that Cage wanted to write a percussion ensemble to accompany dance but, did not have the space for the instruments - he could however prepare a piano and have an entire percussion ensemble at his fingertips. Also, while Cage was in Paris and briefly studied to be an architect, his teacher told him that he must devote himself entirely to architecture if he were to pursue it. Cage decide he could not devote himself to architecture but, could devote himself to music. This is a life altering event in Cage's life and it gets a vague sentence in this book. Has Silverman done any research? As I read, I continually felt I knew much more about Cage than he did. Though he is very good about pulling absolutely mundane details of Cage's life from letters and other accounts.
Call me crazy but, a biography about a musician/composer (or any other artist for that matter) should have a major portion of it devoted to their work...because that was THEIR LIFE!
Silverman focuses more on who was sleeping with who than Cage's music. Granted this aspect of Cage's life has been little written about.
If you want a great biography on Cage - The Roaring Silence: John Cage: A Life. If you only want tangential stories with no substance about music, then definitely buy this book.
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