The New York Times takes a look at how rock and roll music is currently being translated to the pages of novels.
From the article...
Invariably, however, I would run into friends from the rock universe who would inquire, as pasty-skinned record collectors will do, about the bands I was currently digging. Over time, I learned to mumble something about Wild Flag or Tune-Yards just to move the conversation along. But in truth, there were four recently discovered artists I could not shake from my brain yet whose names I was reluctant to share: the cultish singer-songwriter Tucker Crowe; the newly unearthed punk weirdo Scotty Hausmann; the outsider artist Nik Worth; and Richard Katz, a nihilistic rogue.
All were vivid, unique singers, ambivalent toward fame yet too gifted to
avoid flirting with it. All had taken their share of lumps from the
roller-coaster ride that comes with a rich, torturous music career. And
of course, all four men — my favorite new rock singers — did not
actually exist. They were characters gracing the centers or fringes of
recent novels by Nick Hornby (“Juliet, Naked”), Jennifer Egan (“A Visit
From the Goon Squad”), Dana Spiotta (“Stone Arabia”) and Jonathan
Franzen (“Freedom”).
I didn’t have any kind of rock ’n’ roll agenda when I went into these
books. Really. In fact, I inherited the Hornby from my wife, purchased
“Stone Arabia” out of admiration for Spiotta’s previous novel and was
lent both “Goon Squad” and “Freedom” by my mother, who had showered each
with what, for her, amounts to high praise: “Eh — could’ve been
better.”
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