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Tori Amos's Boys for Pele (33 1/3)

Tekijä: Amy Gentry

Sarjat: 33 1/3 (135)

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It's hard to think of a solo female recording artist who has been as revered or as reviled over the course of her career as Tori Amos. Amy Gentry argues that these violent aesthetic responses to Amos's performance, both positive and negative, are organized around disgust-the disgust that women are taught to feel, not only for their own bodies, but for their taste in music. Released in 1996, Amos's third album, Boys for Pele, represents the height of Amos's willingness to explore the ugly qualities that make all of her music, even her more conventionally beautiful albums, so uncomfortably, and so wonderfully, strange. Using a blend of memoir, criticism, and aesthetic theory, Gentry argues that the aesthetics of disgust are useful for thinking in a broader way about women's experience of all art forms.… (lisätietoja)

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Tori Amos' Boys for Pele by Amy Gentry is a mixed bag. Many parts were interesting and offered some nice insight but Gentry tried too hard to make her questionable understanding of current scholarship on disgust fit an overall argument that would have been better suited to framing her own personal engagement with both this album as well as Amos' other work. Which was another annoying aspect, I wanted to read about this album, the title of the book kinda gave that impression, but there was far more discussion of her other work than was needed even for contextualizing. It almost seemed like it was there because the basic argument was so weak that filler was needed.

That all sounds like I didn't like the book, but I did. I just had to bracket the argument she was trying so desperately to make and simply enjoy the periodic insights and back story. I was an Amos fan before and after this album and was hoping to get another person's glimpse at how the book spoke to her. I didn't get a lot of that, mostly some extrapolating general broad theories from personal experience and a partial knowledge of theory and science (both physical and social). So it ended up being a bit of a let down on both the personal side (not enough) and the theoretical side (not convincing). As many others have written, disgust plays a part in much of how women are perceived in culture. That isn't new and it was not related to this specific album particularly well, though Gentry felt disgust herself when first experiencing the album, so she should have stayed with the personal and not tried to make it universal.

I would recommend this for fans of Tori Amos primarily for the moments of genuine insight and the rare moments when we glimpse a human being behind the writing and see what she thought and felt when hearing this album. As for the claim to using theory, well, using would be a generous way to put it, but there are even a couple of interesting moments there as well, but probably not quite with the desired intent.

Reviewed from a copy made available by the publisher via NetGalley. (

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pomo58 | Jan 22, 2019 |

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It's hard to think of a solo female recording artist who has been as revered or as reviled over the course of her career as Tori Amos. Amy Gentry argues that these violent aesthetic responses to Amos's performance, both positive and negative, are organized around disgust-the disgust that women are taught to feel, not only for their own bodies, but for their taste in music. Released in 1996, Amos's third album, Boys for Pele, represents the height of Amos's willingness to explore the ugly qualities that make all of her music, even her more conventionally beautiful albums, so uncomfortably, and so wonderfully, strange. Using a blend of memoir, criticism, and aesthetic theory, Gentry argues that the aesthetics of disgust are useful for thinking in a broader way about women's experience of all art forms.

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