I opened the first page of Whatever You Say I Am: The Life and Times of Eminem expecting one of those glossy, tell-all wastes of paper with a title like Ricky Martin: Exposed. (Which I haven’t read, thank you very much.) Instead, I was surprised by a plethora of topics, running the gamut from the history of American hip-hop to post-modern feminist theory to how many ecstasy hits the great white rap star popped before going onstage at a New York concert. Okay, so author Anthony Bozza (a former writer and editor at Rolling Stone magazine) hasn’t solved any mysteries plaguing mankind with this book, but he has provided a thorough and heartfelt attempt in the quest to discover what exactly makes Marshall Mathers tick.

I’ve always had a closet obsession with Eminem, which is hard to admit for a girl who almost ended up as a Women’s Studies major, so I thought I’d finish this book just as smitten with the rapper as I’d been on page one. I was wrong.

Bozza does a fantastic job with his subject, detailing every fragment of his kaleidoscope life, including conversations he’s had with Mathers in rather candid situations. These sections succeed in shattering the beautiful (yet deluded) illusion I’d formed of Eminem. I had assumed that because this individual possessed such immense talent as a musician and lyricist, he must also be as compelling a figure in reality. Instead, in the book I was faced with an individual who uses the oh-so-eloquent F-word more than I had thought possible (for example, “Hey, you fuckin’ fucks! Why is everybody so quiet, you fuckin’ fat skinny fucks? Fuck you, you fuckin’ fucks!”, and this was during a fun night out on the town with a group of friends). This is not to say that an individual who uses an exorbitant amount of expletives cannot be insightful, but Mathers’ commentary throughout the book is confusing and immature at best.

Bozza did compile a detailed and insightful history of Detroit, both from an ethnic and socio-economic standpoint as well as tracing an intricate line through the path of American hip-hop. He delves into the world of media and music criticism, calling attention to racism and bias and shedding light on the uphill battle Eminem had to wage at every stage on his road to success. He presents both the feminist and homosexual arguments regarding Eminem’s music and does so fairly.

The only negative aspect of Bozza’s look at the hugely successful entertainer is that his admiration of Eminem slightly skews the picture he’s painting. Is it a good book? Yes, but the writer’s loyalty and affection toward his subject somewhat blinded him just as I was guilty of the same offence. Will I still to listen to Eminem despite Bozza’s mixed portrayal? You bet your fuckin’ ass I will.

  • NATASHA RUDNICK

There’s a quote from somewhere that says you don’t read a book so much as it reads you. And then there are some books that you don’t read as much as you grow with. American author Daniel Mason’s first novel, The Piano Tuner, is such a book that leaves a major impression on you.

Set in the 1880s, The Piano Tuner tells the story of Edgar Drake, an unassuming Englishman whose life of domestic harmony is interrupted by a strange commission from the British War Office: to travel to a small settlement deep in the jungle of colonial Burma and tune the grand piano of one Surgeon-Major Anthony Carroll.

This unlikely assignment, echoing Conrad’s Heart of Darkness and the film Apocalypse Now, is of great importance, as the piano is apparently part of Carroll’s mysterious mission. Not one to shirk his duty to the Crown, however odd or unexpected, Edgar packs some historical briefs and his trusty toolkit, leaving behind the dreary streets of London for a brilliant world of sound, light and colour. Thus begins Edgar’s journey, and as it progresses and becomes more complex so does the narrative itself, giving the book a sense of life and active participation in the process, a rare and difficult feat for an author to accomplish.

Mason’s style and skill in writing also seem to evolve as the story does. The book opens simply and directly, which is refreshing as it jumps into the beginning of the story without cumbersome background and description, but at the same time the writing feels somewhat contrived, with the vivid imagery sometimes forcibly inserted instead of stylishly woven into the text. Soon, however, Mason finds his touch, crafting strong, believable characters and conveying with equally magical description the vast scope of a desert caravan or the rich colour of a flower.

Edgar’s understanding of his increasingly dangerous mission grows as he hears legends of the enigmatic Carroll and meets scores of new characters, including bloodthirsty British officers and alluring Burmese servants. As he searches for Carroll and for the piano, Edgar also searches for understanding, both of this new land and of himself.

In describing the journey the novel appeals heavily to all five senses, enriching the feeling of life in its pages. Sound especially is a strong force, as the piano tuning, the interplay between classical and cultural music, and the various voices of the characters add wonderful elements to the story.

This book would be best appreciated by travelers. Mason does not just describe a mythical land to the reader, but reveals, one by one, the mysteries of a place waiting to be discovered. Although it is a fiction, the reader puts down the book feeling as though he’s seen and experienced the real Burma firsthand. Surreal scenes of festival dances and elaborate rituals create a dreamlike state that is rudely interrupted by the novel’s abrupt end.

The Piano Tuner turns out to be a much more complicated book than it initially appears. It is a thoughtfully crafted book, but also succeeds in provoking thought; for with the narrative answering so few of the ending’s glaring questions, the reader is forced to contemplate them on his own. Far from making the book and its resolution annoying or incomplete, this contemplation is but another way of drawing the reader into the journey and giving him a chance to absorb the new world he has just visited.

J P ANTONACCI