Torment Saint: The Life of Elliott Smith
Torment Saint: The Life of Elliott Smith book cover

Torment Saint: The Life of Elliott Smith

Hardcover – October 1, 2013

Price
$44.98
Format
Hardcover
Pages
368
Publisher
Bloomsbury USA
Publication Date
ISBN-13
978-1608199730
Dimensions
6.43 x 1.33 x 9.46 inches
Weight
1.5 pounds

Description

From Publishers Weekly Starred Review. In this detailed biography of Elliott Smith, the gifted singer-songwriter who was beloved by the indie-rock world and praised for solo albums such as Either/Or, Schultz opens a window on the musician who died from a fatal stab wound in 2003 at age 34. Schultz—editor of the Handbook of Psychobiography and author of books on Truman Capote and Diane Arbus—brings to his work a deep understanding of how inner and outer landscapes can affect unique and sensitive artists. Schultz follows the uncanny intersection of the lives of Smith and fellow Pacific Northwest rocker Kurt Cobain: both witnessed domestic violence and divorce during their childhoods, with resulting feelings of abandonment and loss of security showing up regularly in songs; both suffered from lifelong bouts of depression; both hung out in Portland bars where the prevailing mid-1980s zeitgeist included punk, indie, anything-goes aesthetics; and both used hard drugs such as heroin. But no matter how dark Smith's story gets, Schultz never loses sight of the beauty of his music. Agent: Betsy Lerner, Dunow, Carlson & Lerner. (Oct.) From Booklist Elliott Smith is what some call a cult artist. He achieved mainstream fame of sorts when he was nominated for an Academy Award for his song “Miss Misery,” from the film Good Will Hunting, but he has mostly lived his life on the edge in Portland, Oregon. Smith suffered from depression and alcohol and drug addiction, and these topics appear frequently in his music. Schultz’s thorough biography examines Smith’s difficult childhood, his years in numerous bands, and his solo career. He offers thoughtful observations on Smith’s songs, which are notable for their profound melancholy and deep sadness. Before his death in 2003 from a stab wound to his heart, which occurred under mysterious circumstances, Smith was working on a double album. Schultz describes his music as “extraordinarily accomplished,” and Smith himself as sweet and compassionate. “Elliott was very deeply loved by many, many people,” writes Schultz. “The largest mystery of all is why he so often could not believe that.” Fans of Smith’s ethereal music will appreciate this book, published on the tenth anniversary of his untimely death. --June Sawyers From Bookforum In Torment Saint , William Todd Schultz has written his own kind of love song—an account of Smith’s life that does full justice to his memory and the impressive legacy of his art. Schultz makes good on the promise of his subtitle by focusing on the life of Elliot Smith—largely ignoring the cottage industry of lurid speculation about the circumstances of the songwriter’s violent death in 2003. He doesn’t dwell unduly on his subject’s depression, his darkness, or his inability to recognize his own talent and innate goodness. Those traits were, of course, integral to Elliott’s personality, but they aren’t the final word on his life, and so Torment Saint is both a persuasive reckoning with Elliott’s inner demons and –much more important—a full appreciation, and celebration, of his undeniable genius. —Rhett Miller “[Schultz] has obviously internalized Smith's work and honors its spirit through precise, descriptive notes and observations... [It's a portrait] as heartbreaking and well-crafted as one of Elliott Smith's songs.” ― Los Angeles Times “In Torment Saint , [Schultz] has written his own kind of love song--an account of Smith's life that does full justice to his memory and the impressive legacy of his art... Both a persuasive reckoning with Elliott's inner demons and--much more important--a full appreciation, and celebration, of his undeniable genius.” ― Rhett Miller, Bookforum “ Torment Saint will likely go down as the definitive biography of the singer/songwriter... Schultz uncovers a great deal of new information that further humanizes [Smith]... [It's] a full portrait of a troubled man who made beautiful music and left us far too soon.” ― Paste “ Torment Saint is a highly readable, headlong dive into the far end of a tormented artist's head space. It's a cloudy, gray place at times, but even the saddest, darkest moments contain a beautiful silver lining.” ― Willamette Week “Persuasive... Exposes surprises across the songwriter's body of work... Essential for fans of Smith [but] more than worthwhile for any pop music fan.” ― Library Journal “Schultz brings to his work a deep understanding of how inner and outer landscapes can affect unique and sensitive artists... But no matter how dark Smith's story gets, Schultz never loses sight of the beauty of his music.” ― Publishers Weekly, starred review “Fans of Smith's ethereal music will appreciate this book.” ― Booklist Online “Elliott Smith, whose soul presides over the lives of melancholy indie rockers, gets the wake song he deserves in William Todd Schultz's Torment Saint .” ― Vanity Fair “ Torment Saint is the most comprehensive and detailed account of the life of America's most under-heralded musical talent.” ― Examiner.com “This is an epic poem to a true musical antihero, a tale as complex, dense, and poetic as Elliott himself, complete with harrowing details of every stop in his heartrending artistic odyssey.” ―Amanda Palmer, songwriter, performer, artist, most recently on Theatre is Evil, with the Grand Theft Orchestra“William Todd Schultz knows that the music is the key to understanding Elliott Smith, but he doesn't settle for what the songs alone will tell him. In Torment Saint , the author goes deep, crafting an engrossing tale of a troubled young man with a great gift whose complexity rendered him a puzzle to his ardent fans and even his closest friends. Schultz does a valiant job of putting the pieces together, through intensive research and insightful analysis. That Torment Saint is the definitive final word on such a brilliant artist should be viewed as a triumph, even as it confirms the tragedy of losing that artist. Filled with beauty and pain and clearly put together with tremendous care and deep respect, this is the book Elliott Smith deserves.” ―Mark Baumgarten, author of Love Rock Revolution: K Records and the Rise of Independent Music“Schultz's Torment Saint offers a candid, heavily researched and truly empathetic look into a troubled genius's life. As someone who knew Elliott Smith, I was grateful for the whole life arc and the connection of dots. It's a sensitive and inquisitive look at a beautifully talented soul.” ―Sluggo, guitarist for the Grannies“Schultz personalizes and universalizes Elliott Smith. His balance of authorial distance with compassion is unsurpassable. All of the tiny details are rendered with great skill to form a moving, compact encyclopedia for those of us who knew Elliott Smith personally and those who did not.” ―Nelson Gary, author of A Wonderful Life in Our Lives William Todd Schultz is a professor of psychology at Pacific University in Oregon, focusing on personality research and psychobiography. He edited and contributed to the groundbreaking Handbook of Psychobiography , and curates the book series Inner Lives , analyses of significant artists and political figures. His own book in the series, Tiny Terror, examines the life of Truman Capote. Todd Schultz blogs for Psychology Today . Read more

Features & Highlights

  • Elliott Smith was one of the most gifted songwriters of the '90s, adored by fans for his subtly melancholic words and melodies. The sadness had its sources in the life. There was trauma from an early age, years of drug abuse, and a chronic sense of disconnection that sometimes seemed self-engineered. Smith died violently in LA in 2003, under what some believe to be questionable circumstances, of stab wounds to the chest. By this time fame had found him, and record-buyers who shared the listening experience felt he spoke directly to them from beyond: astute, damaged, lovelorn, fighting, until he could fight no more. And yet, although his intimate lyrics carried the weight of truth, Smith remained unknowable. In
  • Torment Saint
  • , William Todd Schultz gives us the first proper biography of the rock star, a decade after his death, imbued with affection, authority, sensitivity, and long-awaited clarity.
  • Torment Saint
  • draws on Schultz's careful, deeply knowledgeable readings and insights, as well as on more than 150 hours of interviews with close friends from Texas to Los Angeles, lovers, bandmates, music peers, managers, label owners, and recording engineers and producers. This book unravels the remaining mysteries of Smith's life and his shocking, too early end. It will be, for Smith's legions of fans and readers still discovering his songbook, an indispensable examination of his life and legacy.

Customer Reviews

Rating Breakdown

★★★★★
30%
(61)
★★★★
25%
(51)
★★★
15%
(30)
★★
7%
(14)
23%
(46)

Most Helpful Reviews

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A solid swing but a tragic miss

It seems to me that there are a lot of slanted reviews on here for this book so I'm going to preface mine by admitting that I have no connection to Elliott Smith other than simply being a big fan. And to be fair, I've been a fan since about 1998 and I love his music but that's my only connection to the musician himself. I've no connection to anyone in his life, his circle, his family or to the author. So for what it's worth, this review is coming from a fan of the music and that's where my interests begin and end.

My first impression of this book was the unbearable way Elliott's lyrics were woven into the narrative of the book. Others have mentioned it and it's the most obvious flaw. And unfortunately the one that makes the book tough to take seriously regularly throughout the entirety of it....all the way down to the last chapter.

A pretty typical example:

"Figure 8 also unpacks a conspicuous army-related theme, the generals, sergeants, non-commissioned officers all showing up at different junctures. A sergeant, for instance, breaks the key off in a lock in "Color Bars," pinning Elliott in the place he comes from. Veiled suicide references appear as everyone wants Elliott to ride into the sunset but he battles back, for the moment, declaring, 'I ain't gonna go down," a phrase he was drawn to as a symbol of giving up and losing all hope..." and continues later on with, "He's an army man, ordered to march where he stands, as a "dead enemy" springs and wails in his face."

This type of narrative, literally interpreting Elliott's lyrics and weaving them into the story, continues throughout the book and is, at times, unbearable and very much cringeworthy at times.

We're told by Elliott himself in his many interviews that the lyrics are mostly metaphors and little stories, not autobiographical (even the book mentions this through a few Elliott quotes) yet the author does his best to literally interpret those and directly apply them to Elliott's life, the situations he was dealing with and the people in his life. And many times, it's not just a stretch, it's downright laughable. And it's a shame.

The comparisons to Kurt Cobain are a bit of a stretch...any fan of Elliott would tell you that, yet there is a fairly substantial amount of time spent discussing the two.

Another obvious questionable part: If you believe the author and his sources, much of Elliott's lyrics were written by a friend from his high school years, back when he was 15:

"A little known fact about Roman Candle - indeed, about all of Elliott's albums up to and including small sections of 2000's Figure 8 - is that high school friend Garrick Duckler's lyrics continued to make regular appearances....sometimes the words weren't even (Elliott's); if they were anyone's diary, they were Duckler's....In total, Duckler estimates that somewhere around two to four lines of his (lyrics) resurface in roughly every other song of Elliott's up to around the year 2000.

So again, the author is attempting to interpret Elliott's lyrics and ascribe them to his life while at the same time we're led to believe that, at least up until 2000, they're so impersonal that Elliott didn't even write many of those lyrics himself.

Sounds farfetched but I think the main thing to consider is that the author spoke with only the people who were willing to speak to him. And, in using that approach, he spoke to many of the wrong people: Those looking to take credit for some of Elliott's success, ex-girlfriends with axes to grind, people who had known him long before he became the person that his fans grew to know. And that's a fatal flaw in trying to piece together an image of someone who is no longer with us.

For instance, the author also seems to have an issue with a woman named Valerie, an ex-girlfriend of Elliott. The author mentions that he tried to connect with her in writing the book and that possibly she wasn't interested in talking. There are many situations in the books where she is used as a target and portrayed as a bad person or influence on Elliott. I feel like that backfired because in the end, it was obvious that there were personal issues here at play, a glaring reminder that this book is a collection of opinions more than anything else with a specific message to promote.

The last part of the book is focused (nay, dedicated) to defending Jennifer Chiba as not having a role in Elliott's untimely death. And that really spoke volumes in terms of where the entire book seemed to be suspiciously headed. So a questionable end to a mediocre book, unfortunately. And when I closed the back cover, it struck me...this was a book written about Elliott by someone who didn't even appear to be a fan. And certainly a true fan wouldn't have put together a narrative like this.

Afterward, I mostly just felt sorry for Elliott's parents, family and real friends. Elliott is spoken about by the author like he's some THING rather than a person. Elliott was a son, a brother, a best friend. And that's the most unfortunate part to feel as an outsider. Certainly if he were still alive, I imagine this book would represent everything he was against and, as a fan, it's tough to stomach the idea that I waded through it and then came to that conclusion.

Ultimately, so much of the book is taken from interviews that you can read elsewhere on the internet: youtube, etc. I think those are the most interesting parts of the book and they're available readily online. And that's kind of the thing here: If you really want to piece together an accurate image of Elliott's life, base that on the words from the man himself, not on an unauthorized biography.

At some point, we, as fans, need to step back and quash the curiosity because it's encouraging projects that like that try to peer into places that really should be forgotten, full of interviews with people who were disconnected from Elliott for years, people with specific agendas and the wrong list of folks.

The music was always the message anyway...it spoke for itself. Elliott said in his own words it's for the listener to put together and decide what they're about. If you respect Elliott as a musician and human, then it's fair enough to end it on that note.
53 people found this helpful
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A devoted but flawed biography.

William Todd Schultz biography of Elliott Smith is not particularly definitive, though it at least attempts to fill an obvious void in well-researched accounts of his life; many readers having been unsated by Benjamin Nugent's previous attempt that seemed rushed to publication shortly after Smith's death. One of the key strengths of this book is its supremely fine focus on Smith's early years growing up in Dallas, followed by the move to Portland and his time with Heatmiser. The detail and insight in this first half of the book is captivating, with regard to both the development of the man and his music.

The only drawback in this first half, one which occurs throughout the book, is Schultz's use of lyric snippets from Smith's songs to garnish some particular moment, explicitly referencing which song that lyrics derives from every time this device is employed. This tactic, used far too frequently to retain any charm, quickly begins to grate and distract from the text.

The second half of the book, starting around the release of the self titled album, meditates on that album's preoccupation with heroin by someone who at that point was not a user. This is an intriguing observation, but it also marks the starting point of a narrative shift. The complexity of the subject slowly begins to dilute into that of a tortured genius gradually plummeting towards death. Who constructs this narrative? Schultz is the author, but he is not entirely responsible for this. For one, what Schultz has at his disposal is ultimately sparse. All he can rely is the music, published interviews, and oral histories from friends and collaborators, and then only those willing to share. Several members of Smith's family and other intimate relations did not talk to Schultz and it is doubtful they will ever talk to anyone about him on record. It is also not much of an exaggeration to say that Smith crafted or bought into this narrative himself, and began to mold himself around it. This has the potential to inhibit and sabotage objective or open attempts at biography.

It is not impossible, though, to subvert the "tortured artist" narrative, whether Smith purposefully adhered to it or not. The best biographies aspire to and sometimes succeed in holding the subject in question, in order to uproot mythos and to create the most fully realized representation possible. Edmund White's biography of Jean Genet and Jon Lee Anderson's biography of Che Guevara come to mind. Schultz, his background in psychology, would seem more apt than any rock historian to attempt such a feat, but that does not come to pass here.

Smith transforms in Schlutz's book from tortured genius to junkie savant, becoming more and more a flat character, the book petering out into speculation for ten or so pages about the nature of his death. Though the question is pertinent, Schultz adamant and drawn out conclusion of suicide cloyingly reiterates Smith's lifelong despondency and diverges into apologia for Jennifer Chiba, who in the end is significant to Elliott's life, though these last pages in the book hardly deal with Elliott at all. He is talking about a death scenario, a woman caught in its devastating aftermath, and a knife. The knife serving as a maudlin if not insulting metaphor of an existential wound, because the metaphor nearly negates the importance of the music, oversimplifies the man, and dampens what could have been a potentially great biography. Smith's narrative is simply hard to navigate in and of itself, one that may never be fully uncovered, but what the budding lineage of his biographies indicate is that the possibility for illuminating interpretations is there. Schultz's addition is flawed but devoted, a cracked light bulb.
31 people found this helpful
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lionizing the last person it should

i'm impressed with the author's clear passion and depth in discussing and analyzing Elliott's work, and the wealth of anecdotal material from all eras and aspects of his tragically short life. but i can't recommend the book as a whole, as it clearly idolizes someone central to the end of Elliott's life. i can't recommend a book that makes a hero out of someone who those of us who know better than to categorize his death as a suicide was arguably not an innocent.
i should have known from the start of the book that essential persons in Elliott's life were not forthcoming and would not be included. that should have been sign enough to just put it down.
consider your source.
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THE NAGGING MYSTERIES OF ELLIOTT SMITH

As any biographer will tell you, we'll never know everything there is to know about a person. For one thing, human nature is ultimately mysterious. We never know ourselves fully, much less someone else. The problem is compounded when that person is only recently deceased, and most of those who knew him are still here. There are so many reasons sources do not come forward to offer what they know. It's lawsuit bait. It's personal, and it was their life too. If the subject was in any way controversial, the sources are diving right into that charming little hornet's nest.

Then there's that pesky issue of memory getting in the way. Do you really know what you think you know? Did it really go down the way you remember it? Since you're putting it in your own words, wouldn't it be tempting to make yourself look just a teeny bit better? And then there's the last taboo: old Death itself. Nobody wants to dwell on it too much, especially if there is a question concerning the cause. The messier a beloved's end was, the more one wants to find a scapegoat. There are people to this day who believe Mozart was murdered.

Often the biggest obstacle in knowing a person is that person himself. Case in point: Elliott Smith, who put himself out as Mr. Misery, The Saddest Man In The Land, and then resented it that people saw him that way. He would laugh about ways to fail, do a 180 mood swing into volunteering unasked about killing your emotions, you know, with drugs and alcohol, and then go back to laughing... being cut off in the video before concluding "The pendulum swings back and forth."

The controversy over Elliott's death isn't limited to journalists and authors. His fans can't even converse amongst themselves without having to tiptoe around the subject, lest old wounds and suspicions erupt once again. One can't even bring up the subject of depression among fans, even though Elliott talked about it and wrote about it. The immediate response is, But he wasn't always depressed. Look at the facts. He was smiling, dancing, skateboarding, being a clown for his friends. Never mind that clowns are traditionally sad people, as Leoncavallo and Smokey Robinson shouldn't need to tell you. What was he doing when he wasn't dancing and skateboarding? What did he do when all the friends went home? The pendulum swung back and forth. Suicide happens in a moment. Some can get past that moment; some can't. It is unbearable for many of us to think that the great lyrical and musical talent of our time threw it all away because he was having a bad moment. But he might have done precisely that.

Elliott's life poses two mysteries--one at its beginning, and one at its end. The beginning (the possibility that he was abused) could explain the end (especially if he finally poured everything out to his mother and she didn't believe him). But no one is coming forward to explain the beginning. And too many people are coming forward with their own agendas concerning the end.

In Torment Saint: The Life of Elliott Smith, William Todd Schultz dives into the brilliant, convoluted, frustrating, endearing, infuriating, and endlessly fascinating hot mess that was Elliott Smith. He does what he can with the beginning and the end, but he nails the middle.

So he interviewed Jennifer Chiba. So what? She was part of Elliott's life in the end, and her point of view is relevant. She among all the people who knew him has nothing to lose in coming forward, already being persona non grata to so many. Regardless of your feelings about her, don't you want to know what she has to say? I for one believe she does a credible job of depicting Elliott's rampaging paranoia in his last days.

What amazes me about the reception of Torment Saint is that people are more shocked by Jennifer's presence in it than they are by the revelation that not all Elliott Smith lyrics were written by Elliott Smith. Another shocker in the book is the how Elliott persuaded his initially hesitant father to take him in when he was 14. No, I won't give these goodies away. You'll have to read the book.

The main reason to read the book, however, is that Schultz brings to life most of the Dallas years and all of the Portland years. These chapters are colorful, entertaining, and poignant. The shadows of mystery linger there as well, but Steve Pickering, J J Gonson, and others who loved Elliott reveal in detail why Elliott was so loveable. Still other people close to him, notably Brandt Peterson, attest to the times Elliott could be cruel. (Brandt is so honest about his own failings I am forced to believe him.)

I myself don't agree with everything in the book. I don't share Schultz's interpretation of "Needle in the Hay," for instance. Elliott never explained his lyrics--or when he did, it was only to add to their ambiguity. Schultz has made an honorable attempt to offer what he knows, and what he has learned, and what he perceives. His opinions are his own. His limitations he fully admits. Those who find fault with Torment Saint can write their own reviews. Or their own books.
18 people found this helpful
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Rolling over in his grave

Ha. What a load of cr#p this "biography" is. As Morrisey says "On their hands a dead star/And oh the plans they weave/And oh the sickening greed." The funny thing is I don't even mind that the biographer interviewed Elliott's murderer and then made her the hero of this story. It only proves how little he actually knew but I suppose you got to make your sources seem reliable (especially if Elliott's family members and other key people didn't want to contribute to this book). I've heard he misquoted the people he did use and then got things wrong. Again, probably indicative of something . . . let's see . . . what could it be? Oh, yes, that he needed to publish this at the anniversary of Elliott's death and that was his main priority. Oh, yes and selling copies. Of course, there is nothing wrong with selling copies of a book about a dead start but what's particularly annoying is that it markets itself as a psychological biography and the only thing the author left out was anything remotely capturing the actual person he's writing about. I guess so long as it's "psychological" (whatever that means) that is meant to convey something well-researched, thoughtful and brave. But instead of a psychological portrait, what we get is a two-dimensional stick figure of someone the author at times idealizes as a genius (he did actually name the book "Torment Saint") or at other times pities as the fallen hero caught in the grips of substance abuse ("insert name of famous person here"). The more vague, the better, I suspect, because it means more readership since that wouldn't risk alienating anyone. Of course, no one from Elliott's family was consulted on this project perhaps because they might have thought that a person who writes a lot of biographies (and gets contracts from publishing houses to do so) is more interested in the Saint Elliott and less troubled with the monumental task of capturing something true about an actual person. That would require a biographer who would be interested in something different or, at the very least, facing the difficulty in that sort of thing. But that difficulty was deftly avoided. This is what makes me so angry, namely, that to write a cookie-cutter biography that comes from talking to a handful of people (people who are the most eager to use such a book in order to persuade the world of their innocence and/or significance) is the easiest and most comfortable way to do something like this but the subject of this biography would never have done something so easy, so digestible and innocuous as to be without courage or conviction. That the person this book is about didn't stand for anything that was so convenient but had the courage to write about (and had the ability to invite people to consider) those things in life that are not easy, admirable, or safe.
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A fan's interpretation

I am a die hard Elliott Smith fan. He is my favorite musician. He seemed like such a kind and interesting guy. Because of my obsession with Elliott, I couldn't put this book down.
I have read on Elliott message boards that there are fans who have no interest in this book. There are topics that are invasive to Elliott and his family's life. There are also many points that may or may not be accurate.
My favorite parts of the book are stories from friends such as JJ Gonson, Steven Pickering, Neil Gust, and Dorien Garry. I loved hearing about his band in high school and discovering music that he enjoyed. I went out and bought Joni Mitchell's "Blue" after reading that it had a big impact on him.
I wasn't a fan on the author's comparison to Kurt Cobain. I also thought he may have tried to interpret Elliott's lyrics too much. Another thing I didn't like was his description of music videos. They could have been shortened. We can look up videos on youtube if we are interested.
In TV interviews, Elliott has said that songs are personal, but gives that vibe that we shouldn't look too much into them. I feel that the author looks too much into Elliott's lyrics.
Other than those critiques, the book was well done. Much better than the last biography that was written about Elliott.
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Elliott would be the first to say this book is ka ka.

This is a skewed and extremely limited look at the life and times of one of our most prolific and talented songwriters/musicians, Mr. Elliott Smith. Unless you're a fan of one sided fiction, don't bother.
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Well researched as a reference but unreadable as narrative

I picked this book up on sale without reading a word of it but when i got it home I found that beyond the first page or so it became impossible to read - just a wall of words. I skipped to a random page in the middle to see if the writing got any better but the random paragraph i'd found was simply another list of facts, in this case about a kid whom he'd met in 6th grade when Smith lived on a cul de sac and attended a yellow school and the kid knew him as "Steve". Well researched to be sure (just LOADED with info) but unreadable as narrative.
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The best way to know Elliott Smith.

The best biography on Smith that I've read. A lot more informative with far more depth than the others.
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A must read for any Elliott Smith fan

In my opinion, this is the most well written and thoroughly researched account of Elliott Smith ever put into print. This is the story of the real Elliott Smith, from beginning to end, as told primarily by Elliott's closest friends and family. While Elliott has been gone for over ten years now, Schultz brings him back to life, if only for a few hundred pages. With each turn of the page, we all know how it is going to end, but it is impossible not to enjoy the ride. Purchase this book and relive the magic that Elliott created.
3 people found this helpful