Other books Morrissey and Smiths fans might like

The Severed Alliance, by Johnny Rogan

A Light That Never Goes Out, by Tony Fletcher

Autofellatia, by James Maker

Mozlandia: Morrissey Fans in the Borderlands (LA & Mexico), by Melissa Mora Hidalgo

Just Kids, by Patti Smith

Bloody Mary: My Story, by Mary Coughlan

Linder Works: 1976 - 2006 (various, including Morrissey)

Morrissey Shot, by Linder Sterling

No Future: Punk, Politics and British Youth Culture, 1976–1984. By Matthew Worley
https://academic.oup.com/tcbh/article-abstract/30/2/285/5092924?redirectedFrom=fulltext&login=false

Brighton Rock, by Graham Greene

Refusing to be a Man, by John Stoltenberg

Saturday Night and Sunday Morning, by Alan Sillitoe

Writings of Alan Bennett, Lorraine Hansberry,John Betjeman, Edith Sitwell, Alice Walker, Noel Coward, Brendan Behan, Oscar Wilde, Toni Morrison, Will Self, Victoria Wood

Poems of Anne Sexton, Stevie Smith, Ezra Pound, Gertrude Stein, Christina Rossetti, John Keats, W.B. Yeats, William Shakespeare, Jim Morrison

Bob Dylan, about whom Morrissey's cousin wrote several acclaimed books - https://www.goodreads.com/author/list/76046.C_P_Lee

Dickie Felton's lovely books on Morrissey fans

Morrissey's Manchester, by Phil Gattenby

Peepholism: into the Art of Morrissey, by Jo Slee (how is she doing, I wonder?)

Works by James Baldwin, Morrissey's favourite writer

And many more...
 
Michael Bracewell (2009) England is Mine: Poplife in Albion. London: Faber and
Faber;

Sean Campbell and Colin Coulter (eds) (2010) Why Pamper Life’s Complexities? Essays on
e Smiths. Manchester: Manchester University Press;

Eoin Devereux (2009) ‘I’m not the man you think I am: authenticity, ambiguity and the cult of Morrissey’, in E. Haverinen, U. Kovala and V. Rautavuoma (eds) Cult, Community, Identity. Finland: Research Center for Contemporary Culture of the University of Jyväskylä;

Eoin Devereux (2006) ‘Being Wild(e) about Morrissey: fandom and identity’, in M. Corcoran and M. Peillon (eds) Uncertain Ireland: A Sociological Chronicle 2003–4. Dublin: IPA;

Stan Hawkins (2002) Settling the Pop Score. Aldershot: Ashgate;

Stan Hawkins (2009) e British Pop Dandy: Masculinity, Popular Music and Culture. Farnham:
Ashgate;

Gavin Hopps (2009) Morrissey: e Pageant of His Bleeding Heart. London and New
York: Continuum;

Nadine Hubbs (1996) ‘Music of the “fourth gender”: Morrissey and the sexual
politics of melodic contour’, in T. Foster, C. Stiegel and E. E. Berry (eds) Bodies of Writing, Bodies in
Performance. New York: New York University Press;

Pierpaolo Martino (2007) ‘I am a living sign: a semiotic reading of Morrissey’, International Journal of Applied Semiotics, 6: 1;

Antti Nylén (2004) ‘Morrissey and Me’, available www.eurozine.com;

Antti Nylén (2009) On Consolation. Helsinki: Antti Nylén;

Simon Renyolds and Joy Press (1995) e Sex Revolts: Gender, Rebellion and Rock
‘n’Roll. Cambridge, MA: Harvard University Press;

Julian Stringer (1992) ‘e Smiths: repressed
but remarkably dressed’, Popular Music, 11, pp. 15–26;

Taina Viitamäki (1997) ‘I’m not the man you think I am: Morrissey’s fourth gender’, Musical Currents, 3, pp. 29–40;

Suzanne Weaver (2008) (ed.) Phil Collins: e World Won’t Listen. Yale: Yale University Press;

Nabeel Zuberi (2001) ‘e last truly British people you will ever know: e Smiths, Morrissey and Britpop’, Sounds English: Transnational Popular Music. Chicago: University of Illinois Press.
from this list
 
Morrissey used photos from this 1981 book, Rock N' Roll Times, for cover art - https://www.goodreads.com/book/show/1525244.Rock_N_Roll_Times
1525244.jpg



"In Music: A Subversive History (2019), Ted Gioia reclaims the story of music for the riffraff, insurgents, and provocateurs.

Gioia tells a four-thousand-year history of music as a global source of power, change, and upheaval. He shows how outcasts, immigrants, slaves, and others at the margins of society have repeatedly served as trailblazers of musical expression, reinventing our most cherished songs from ancient times all the way to the jazz, reggae, and hip-hop sounds of the current day.

Music: A Subversive History is essential reading for anyone interested in the meaning of music, from Sappho to the Sex Pistols to Spotify."

https://polyarchive.com/book-review-music-a-subversive-history-ted-gioia/

Another highly rated book of nonfiction criticism, this time of literature's bracing influence
https://bookmarks.reviews/reviews/r...ersive-power-of-literature-in-troubled-times/
 
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A book of interviews with Morrissey published in 2017, available online
www.everand.com

Morrissey In Conversation by Plexus Publishing Ltd. (Ebook) - Read free for 30 days

An English national treasure, Steven Patrick Morrissey has made barbed observations about modern culture for more than two decades. As renowned for his elegantly waspish interviews as for his celebrated song lyrics, his wit and vitriol are finally collected in a long overdue anthology.
www.everand.com www.everand.com

An English national treasure, Steven Patrick Morrissey has made barbed observations about modern culture for more than two decades. As renowned for his elegantly waspish interviews as for his celebrated song lyrics, his wit and vitriol are finally collected in a long overdue anthology.

1682728089
 
I'm reading Frantumaglia by Elena Ferrante - https://elenaferrante.com/works/frantumaglia/

Her novels have been described as disturbing, illuminating, comforting, and she's been rated one of the best and most influential writers in the world, notwithstanding the likely but still inconclusive uncovering of her true identity in 2016.

Her directness and themes frequently echo Morrissey. For example, in a reply to a letter from Goffredo Fofi in the late 90s, she says several things very resonant of the song You Have Killed Me:

"When you're finished [writing] the book, it's as if your innermost self has been ransacked, and all you want to do is regain distance, return to being whole...I am now me again, I am here, I go about my ordinary business, I have nothing to do with the book, or, to be exact, I entered it, but I can no longer enter it. Nor on the other hand can the book re-enter me...I wrote my book to free myself from it, not to be its prisoner...the farther I am from my writing, then, the more it becomes what it wants to be: a novelistic invention...the media goes precisely in the opposite direction...lacking a true vocation for "public interest"...if one yields, one accepts, at least in theory, that the entire person, with all his experiences and his affections, is placed for sale along with the book...does it make sense to throw away the key?"

From about 2003, when Morrissey started doing similar for the True To You fanzine and was soon to go to live in Italy, Ferrante, still under her pseudonym, carried out q & a's for various editors who acted as go-betweens for readers' questions.

She expresses awe for just one other Italian writer, Elsa Morante, who died in 1985. I don't know if Morrissey's name has ever come up in any context of these writers but I'm sure he's familiar with their work.
 
Profile of Brown University professor Iván Ramos' first book, “Unbelonging: Inauthentic Sounds in Mexican and Latinx Aesthetics.”

Excerpt:
-- Growing up in Mexico — where rock music was banned from the 1960s to the 1990s — Ramos developed an affinity for rock and its subgenres. However, he noted that Latinx individuals have a complex connection to these genres based on outward perceptions of both the music and what it means to listen to it.

“I was wondering why there was a thing around punk, rock and music that, as I was growing up, I was always told was white music or American music,” Ramos said. “In Mexico, it was a little bit weird that I listened to it; in the U.S. if I went to shows, it was a little bit weird. I mean there were a bunch of Latino kids [listening to rock], but there was the sense of ‘How do you relate to this music?’”

Ramos presented his book to Bradley students in assistant English professor Alexander Lalama’s Latinx Literatures course and to a larger group in Westlake Hall.

An assistant professor in the Department of Theater Arts and Performance Studies at Brown, Ramos overviewed the four chapters of his book, which address the various ways Latinx individuals view rock and its subgenres as a form of resistance against contemporary and historical violence and oppression.

Ramos emphasized that the creation of the North American Free Trade Agreement (NAFTA) in 1992 caused negative economic changes in Mexico, but also sparked the ability for rock music to be played on the radio and during concerts again. This drew more listenership to the genre from citizens across backgrounds who couldn’t outwardly express their discontent.

“NAFTA is a trade agreement that ended up taking away our labor protections. It moved a lot of jobs from [Mexico] to across the border where labor was cheap,” Ramos said. “There’s the sense that being a good Mexican means you care about NAFTA, you care about trades … So there’s this sense that it’s no longer the middle class that listens to rock, but also people who have grown up in some of the most disadvantaged neighborhoods.”

The importance of relating to rock music was highlighted again when Ramos discussed the popularity of English singer-songwriter Morrissey and his band The Smiths among Latinos on the West Coast. Having produced music in a time where England suffered from an economic depression, the emotions conveyed by the band’s projects related to experiences of those Latinx populations.

“Most explanations as to why Chicanos and Latinos in Southern California listen to Morrissey are sociological,” Ramos said. “The deal with Morrissey is that he writes almost ridiculously sad lyrics. It’s music about being a sad teenager in your bedroom, but … when you listen to The Smiths, it’s the sound of economic dissatisfaction.”

The undertaking of completing his first book was an effort that Ramos says took years. The development of “Unbelonging” began while he was writing a paper in graduate school at the University of California, Berkeley.

“So I’m looking at this history, and I realize rock music and, what I call dissonant sounds that aren’t immediately identifiable with Mexican culture, became sounds of opposition,” Ramos said. “I started realizing there’s this pattern that seems to be repeated around other sound artists that worked in Mexico and that it was close to what I wanted the first chapter to be.”--

- https://www.bradleyscout.com/news/b...atinx-aesthetics-in-presentation-to-students/
 

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