Just Kids | Patti Smith | 2010 | Book Review

ABOUT THE AUTHOR 

Patti Smith, famously known as the “Godmother of Punk,” is an influential icon in American music and literature. Born on December 30, 1946, in Chicago, Illinois, she became a defining voice in the countercultural movement of the 1970s. Best recognized for blending rock music with poetry, her debut album Horses (1975) is ranked by Apple Music as the 83rd best album of all time. Over the years, she has authored multiple poetry and prose works, receiving prestigious accolades such as the National Book Award for Just Kids in 2010 and an induction into the Rock and Roll Hall of Fame in 2007. Patti Smith’s artistic inspiration stems from legendary figures like Arthur Rimbaud, Bob Dylan, Jean Genet, and Baudelaire. Her memoir, Just Kids, beautifully fulfills the final wish of Robert Mapplethorpe—to tell their story to the world.

SYNOPSIS

Just Kids by Patti Smith is a deeply personal memoir that has often been described as the “epilogue to fame” in the intertwined lives of Patti Smith and Robert Mapplethorpe. The narrative opens with Smith’s arrival in New York—an ambitious yet naive dreamer armed with little more than a suitcase, a stolen copy of Illuminations, and an insatiable desire to create. A chance encounter with Mapplethorpe soon leads to a profound artistic and emotional bond—one that transcends mere romance and transforms into an extraordinary creative partnership, set against the raw yet electrifying backdrop of New York City.

Their relationship is portrayed as one of artistic symbiosis—inseparable yet evolving in distinct directions. As Mapplethorpe hones his photography and delves into themes of sexuality and mysticism, Smith finds her voice in poetry and rock music. From scraping by for food to achieving artistic breakthroughs, their journey stands out for its unwavering trust and shared ambition.

Though their romantic relationship ended when Mapplethorpe embraced his homosexuality, their deep friendship endured, fueled by artistic devotion. Smith poignantly reflects, “Even as Robert and I parted as a couple, our photographs became more intimate, for they spoke of nothing but our common trust.”

The memoir also serves as a tribute to the golden era of New York’s bohemian culture, painting a vivid picture of the late 1960s and 1970s. The iconic Chelsea Hotel—a sanctuary of “shabby elegance”—becomes a focal point where Smith and Mapplethorpe encounter luminaries like Andy Warhol, Sam Shepard, and Janis Joplin. Patti Smith’s evocative storytelling captures the essence of an era bursting with creative rebellion.

From the highs of performing at St. Mark’s Church to the lows of struggling to survive, Just Kids immerses readers in a world where art, passion, and perseverance collide.

WHAT WE LIKED ABOUT JUST KIDS

One of the most compelling aspects of Just Kids is Patti Smith’s poetic reflection on art as a form of spirituality. She portrays creativity not just as self-expression but as a sacred act—an intimate dialogue with the divine. This deeply resonates throughout the memoir, especially in her depiction of Robert Mapplethorpe, whose artistic journey is explored with reverence and admiration. She describes his work as infused with “sacred sexual power,” revolutionizing perceptions of art beyond politics—imbuing male experience with mysticism and challenging societal boundaries.

Mapplethorpe’s artistic vision, as seen through Smith’s lens, is an enthralling blend of beauty and decay, the sacred and the profane. She recounts how he “defaced Catholic images of the Madonna and Christ,” creating provocative collages that forced viewers to question their notions of divinity and sexuality. His exploration of morality is captured in her words: “There is no pure evil, no pure good, only purity.”

The visual elements of Just Kids further enrich the memoir, allowing readers to experience the raw emotions behind Smith and Mapplethorpe’s journey. Photographs and artistic references serve as windows into their evolving bond and the electrifying creative atmosphere of 1960s-70s New York City.

WHAT COULD HAVE BEEN BETTER ABOUT JUST KIDS

While Just Kids is a beautifully written memoir, its deep-rooted connection to American culture might make it slightly challenging for international readers. The nostalgic celebration of New York’s artistic scene, infused with references to specific cultural icons and historical moments, may not resonate as profoundly with those unfamiliar with the era’s unique artistic movements.

For readers less acquainted with art and music history, some nuances of Smith’s narrative might feel elusive, potentially leaving them yearning for a broader, more universal perspective.

However, her ability to vividly capture the soul of a bygone era remains commendable, painting a nostalgic masterpiece that transcends geographical and cultural boundaries.

QUOTES

I loved this place, its shabby elegance, and the history it held so possessively. There were rumors of Oscar Wilde’s trunks languishing in the hull of the oft-flooded basement. Here Dylan Thomas, submerged in poetry and alcohol, spent his last hours. Thomas Wolfe plowed through hundreds of pages of manuscript that formed You Can’t Go Home Again. Bob Dylan composed “Sad-Eyed Lady of the Lowlands” on our floor, and a speeding Edie Sedgwick was said to have set her room on fire while gluing on her thick false eyelashes by candlelight.

The artist seeks contact with his intuitive sense of the gods, but in order to create his work, he cannot stay in this seductive and incorporeal realm. He must return to the material world in order to do his work. It’s the artist’s responsibility to balance mystical communication and the labor of creation.

Yet Robert and I had explored the frontier of our work, and created space for each other. When I walked on the stages of the world without him, I would close my eyes and picture him taking off his leather jacket, entering with me the infinite land of a thousand dances.

CONCLUSION