Printer Friendly

Scars of the Soul Are Why Kids Wear Bandages When They Don't Have Bruises.

Scars of the Soul Are Why Kids Wear Bandages When They Don't Have Bruises by Miles Marshall Lewis Akashic Books, October 2004 $14.95, ISBN 1-888-45171-8

This debut book is the latest installment of note in the effort to chronicle and legitimize hip-hop music and culture. Lewis, a former editor at Vibe and XXL (his work has also appeared in publications ranging from The Nation in Rolling, Stone), is one of the more important critics and observers of the genre. He demonstrates beyond a doubt with this work that he is a very talented writer. His prose is lucid, engaging and at times, approaching the poetic. Yet his book functions better as separate pieces than as a coherent whole, perhaps because it was written around three stories that had appeared in print in some form previously.

Part memoir, part chronicle and part celebration of a culture that still must defend its existence, or at least not its commercial appeal, Lewis's book weaves the story of a boy born in the Bronx in 1970 with the music that grew and spread from that same borough nearly contemporaneously. Lewis begins with the widely trumpeted belief of late that hip-hop, as a dynamic art form and a force for change, is dead, then reveals how the process of writing the book changed his mind about it.

He finds evidence that the music's founders and early torchbearers, artists such as Afrika Bambaataa and KRS-One, are, in his view, creating institutions that will ensure hip-hop's ability to galvanize the disenfranchised and spur social and political activism for years to come.

Yet by overemphasizing the positive aspects of the music, Lewis suffers from the tendency of the fanzines he once wrote for to valorize that which is good in the music while engaging in apologetics when addressing its more unsavory trends, like its incessant--and arguably growing--misogyny, and its sometimes relentless glorification of violence.

Without question, hip-hop has a rebellious and transgressive posture, but Lewis does not prove that it currently holds a program for--or the promise of--social or political action. Still, as a contribution to the ongoing discussion of hip-hop's importance and its legacy, Lewis's book is an admirable contribution.

Alex P. Kellogg is a writer living in Massachusetts.
COPYRIGHT 2004 Cox, Matthews & Associates
No portion of this article can be reproduced without the express written permission from the copyright holder.
Copyright 2004, Gale Group. All rights reserved. Gale Group is a Thomson Corporation Company.

Article Details
Printer friendly Cite/link Email Feedback
Author:Kellogg, Alex P.
Publication:Black Issues Book Review
Article Type:Book Review
Date:Nov 1, 2004
Words:373
Previous Article:Open House of Family, Friends, Food, Piano Lessons, and the Search for a Room of My Own.
Next Article:Voodoo Queen: the Spirited Lives of Marie Laveau.
Topics:


Related Articles
Against the Current: How One School Struggled and Succeeded with At-Risk Teens.
House of Light.
HarperCollins on a shopping spree. (Deals).
WritersCorps. Paint me like I am.
Behind Black Music: Two Intriguing Critical Overviews.
From Battle Scars To Beauty Marks.
Do You See Me Now?

Terms of use | Privacy policy | Copyright © 2020 Farlex, Inc. | Feedback | For webmasters