I’ve been staring at the blank page for some time now. Here, you look at some pancakes:
On Friday morning, Anthony Bourdain died by suicide in France, devastating news in many ways. If you’ve ever suffered depression, you know someone else’s suicide can make you think itchy, uncomfortable thoughts. I won’t go into difficult detail, in case you have suffered depression, but please understand: I know. Also: other people know:
Each Sunday, Pitchfork takes an in-depth look at a significant album from the past, and any record not in our archives is eligible. Today we explore the righteous anger of Hole’s 1994 album Live Through This.
Oh boy. Live Through This was the soundtrack for my years-long swan dive into the dark. It completely captured my rage, anguish and inability to make sense of my life.
…for Love, who watched grunge break through to the mainstream only to find that the freedom and rebellion it promised was reserved for her male counterparts. In grunge, men could be scruffy and rude and defy gender norms—they could be rawer than the men modeled in synth-pop music videos or hair metal concerts a few years prior. Women, for all the space afforded them in the subculture’s spotlight moment, might as well have been Lilith.
By then, I was already Lilith, flying off the edge of the earth (that link references Enid Dame, whom I knew and loved.)
The album’s pummeling opener “Violet” baits the ear with a jangling guitar tone cut from the same cloth as R.E.M., and then drummer Patty Schemel churns the song into a fury. “Go on, take everything/Take everything/I want you to,” howls Love, her bitterness oxidized into defiance.
In a second profile of Love, published in 1995, Vanity Fair conducted the first-ever interview with the singer’s mother, the therapist Linda Carroll. “Her fame is not about being beautiful and brilliant, which she is,” Carroll said. “It’s about speaking in the voice of the anguish of the world.” That the anguish of the world would have a female voice was an idea new to the music industry. It’s still new. Love makes a bid for universality on Live Through This in that it’s hard not to get swept up in her energy, but she also acknowledges that female pain is marked, that it is compartmentalized and dismissed because it is felt by women, not people.
Siobhan, between jobs briefly and camping on my couch, saw me come home from a terrible job to a failed relationship in a disastrous living situation, howling this song and remarked, “Oh good, you have an anthem.” Violet was my anthem, but when I lost my home, my memory, my artwork and my man, it didn’t seem incidental that I also lost my singing voice and my ability to write by hand after decades as a prolific journal writer. I lost everything I recognized about me. Essentially, I spent four years in absolute darkness, six years building a new self and a new life, and the last eleven years teaching myself how to learn again, and a new way of living without much of a past.
This morning, I listened to Live Through This to find out how I felt, more than twenty years later. Busy at work, I found there were songs I didn’t remember and songs I wished I’d heard recently. Credit In the Straight World is a fantastic song. I have little idea what the lyrics are about, but I love the jangly, swooping guitar sounds and Love’s voice skimming their surface like a skipping stone. “I don’t really miss God, but I still miss Santa Claus,” from Gutless, for my money, sums up Love’s ambivalence about men and authority figures. God punishes the people He supposedly loves, and giver-of-gifts Santa has no respect for personal boundaries. Either one could have behaved a little better if he tried, but at least Santa leaves presents.
Live Through This was released four days after Kurt Cobain’s suicide. On She Walks On Me, Love sings:
Hold you close like we both died
My ever present suicideMy stupid fuck, my blushing bride
Oh tear my heart out, tear my heart out
She walks over me