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9781501321313

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In this remarkable book Amy Gentry pulls off such fearless feats of feminist criticism I found myself hollering Yes! out loud, dog-earing and underlining entire passages. She dives deep into why we consider certain women and their art simply too much, and examines her own love and trepidation for Tori Amos' work with relentless, righteous curiosity. This is an essential read, a barnburner of a book for anyone who thinks deeply about music and the people who make it. * Jessica Hopper, author of The First Collection of Criticism by a Living Female Rock Critic *

Blending feminist criticism and art theory, Gentry deftly explains how Amos's juxtaposition of ambitious arrangements with ugly subject matter illustrates the myriad ways in which women use art to reevaluate dark experiences. * Amanda Wicks, Vulture * Gentry expands Amos' polarizing 1996 album into an intrusive, vital examination of why we're often simultaneously disgusted and intrigued by the work of particular women artists. * Austin Chronicle * In this remarkable book Amy Gentry pulls off such fearless feats of feminist criticism I found myself hollering Yes! out loud, dog-earing and underlining entire passages. She dives deep into why we consider certain women and their art simply too much, and examines her own love and trepidation for Tori Amos' work with relentless, righteous curiosity. This is an essential read, a barnburner of a book for anyone who thinks deeply about music and the people who make it. * Jessica Hopper, author of The First Collection of Criticism by a Living Female Rock Critic *

Blending feminist criticism and art theory, Gentry deftly explains how Amos’s juxtaposition of ambitious arrangements with ugly subject matter illustrates the myriad ways in which women use art to reevaluate dark experiences. * Amanda Wicks, Vulture * Gentry expands Amos' polarizing 1996 album into an intrusive, vital examination of why we're often simultaneously disgusted and intrigued by the work of particular women artists. * Austin Chronicle * In this remarkable book Amy Gentry pulls off such fearless feats of feminist criticism I found myself hollering ""Yes!"" out loud, dog-earing and underlining entire passages. She dives deep into why we consider certain women and their art simply ""too much,"" and examines her own love and trepidation for Tori Amos' work with relentless, righteous curiosity. This is an essential read, a barnburner of a book for anyone who thinks deeply about music and the people who make it. * Jessica Hopper, author of The First Collection of Criticism by a Living Female Rock Critic *

"Blending feminist criticism and art theory, Gentry deftly explains how Amos’s juxtaposition of ambitious arrangements with ugly subject matter illustrates the myriad ways in which women use art to reevaluate dark experiences. * Amanda Wicks, Vulture * Gentry expands Amos' polarizing 1996 album into an intrusive, vital examination of why we're often simultaneously disgusted and intrigued by the work of particular women artists. * Austin Chronicle * In this remarkable book Amy Gentry pulls off such fearless feats of feminist criticism I found myself hollering ""Yes!"" out loud, dog-earing and underlining entire passages. She dives deep into why we consider certain women and their art simply ""too much,"" and examines her own love and trepidation for Tori Amos' work with relentless, righteous curiosity. This is an essential read, a barnburner of a book for anyone who thinks deeply about music and the people who make it. * Jessica Hopper, author of The First Collection of Criticism by a Living Female Rock Critic *"

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Amy Gentry is the author of the thriller Good as Gone, a New York Times Book Review “Editors’ Choice.” She is also a book reviewer and essayist whose work has appeared in numerous outlets, including the Chicago Tribune, Salon, The Paris Review, the Los Angeles Review of Books, and The Austin Chronicle. Amy has a doctorate in English and lives in Austin, Texas.

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