Free PDF Hold Still: A Memoir with Photographs, by Sally Mann
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Hold Still: A Memoir with Photographs, by Sally Mann
Free PDF Hold Still: A Memoir with Photographs, by Sally Mann
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Review
"Hold Still is a wild ride of a memoir. Visceral and visionary. Fiercely beautiful. My kind of true adventure."―Patti Smith, musician and National Book Award-winning author of Just Kids"One would not need to know Sally Mann's remarkable work as a photographer to be swept up in her memoir Hold Still, which draws upon a family history so rife with jaw-dropping drama that it could provide the grist for a dozen novels. With prodigious intellect and a telling instinct for the exact detail that will reveal character or throw it into question, Mann delves into the treacherous territory of memory, mesmerized by the relentless dance of beauty and decay. In doing so, she manifests in prose the acuity of seeing that has propelled her to the top rank of contemporary artists."―Andrew Solomon, author of Far From the Tree and The Noonday Demon"Photographer Sally Mann's book Hold Still is one of the great portraits of the American South. Written in her pitch perfect prose style, it is a textbook of illumination and desire for anyone who hears the siren call of art beckoning to them. It's southern to the bone, hell on wheels. Hold Still is a masterpiece."―Pat Conroy, author of The Death of Santini and South of Broad"In Hold Still, Sally Mann demonstrates a talent for storytelling that rivals her talent for photography. The book is riveting, ravishing -- diving deep into family history to find the origins of art. I couldn't take my eyes off of it."―Ann Patchett, author of Bel Canto and This is the Story of a Happy Marriage"For three decades Sally Mann has captured images that are unique, haunting, beautiful, disturbing, stark - it would take a mid-sized thesaurus to hold all the adjectives that have been used to describe both the art and the artist. In Hold Still, she wraps her prose around her pictures, revealing a fine talent for writing and a rich family history."―John Grisham, author of The Firm and Sycamore Row"Sally Mann's Hold Still is just like her pictures: forthright, adventurous, loving, fearless, beautiful, intimate, and somehow uncanny. That means it's probably just like her."―Luc Sante, author of Low Life and Kill All Your Darlings"What I admire most about Sally Mann's new book is not her ability to write captivating sentences--she does. It's the honesty and fearlessness, the two mixed together, compelling her to own up to her mistakes, to acknowledge her winnings, to accept her losses (and those of her family). For this quality alone, Hold Still deserves a fixed place in the library of American memoir."―Paul Hendrickson, author of Hemingway's Boat: Everything He Loved in Life, and Lost"There has never been a book like this. At once a poetics of place, a work of deep history, a bildungsroman, and an acute inquiry into the big subjects: love, family, other animals, the nature of creativity. It is sublime. It's also very funny. Haunting and haunted, Hold Still is the memoir of an artist that is art itself."―Melissa Holbrook Pierson, author of The Place You Love is Gone"This spectacular modern memoir reads like a sweeping gothic novel, filled with mystery, violence, controversy, and, of course, love in all its forms. It is a literary family album enlivened by many of the images in the stories told. A Southern work, it is also universally accessible, as all of Sally Mann's work is, for she reaches deep into her ancestral headwaters and the twisted rivers of human remembrance. A triumph."―Jamie Lee Curtis, actress"Few photographers of any time or place have matched Sally Mann's steadiness of simple eyesight, her serene technical brilliance, and the clearly communicated eloquence she derives from her subjects, human and otherwise - subjects observed with an ardor that is all but indistinguishable from love."―Reynolds Price, Time
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About the Author
Sally Mann (born in Lexington, Virginia, 1951) is one of America's most renowned photographers. She has received numerous awards, including NEA, NEH, and Guggenheim Foundation grants, and her work is held by major institutions internationally. Her many books include What Remains (2003), Deep South (2005), and the Aperture titles At Twelve (1988), Immediate Family (1992), Still Time (1994), Proud Flesh (2009), and The Flesh and the Spirit (2010). A feature film about her work, What Remains, debuted to critical acclaim in 2006. Mann is represented by Gagosian Gallery, New York. She lives in Virginia.
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Product details
Paperback: 496 pages
Publisher: Back Bay Books; Reprint edition (April 26, 2016)
Language: English
ISBN-10: 0316247758
ISBN-13: 978-0316247757
Product Dimensions:
6.1 x 1.4 x 9.4 inches
Shipping Weight: 1.5 pounds (View shipping rates and policies)
Average Customer Review:
4.4 out of 5 stars
285 customer reviews
Amazon Best Sellers Rank:
#31,230 in Books (See Top 100 in Books)
As a serious photographer I was drawn to this book since I was familiar with the controversy surrounding her photographs of her children enjoying life on their Virginia farm in the nude. Critics thought the poses of her young children were too suggestive which I thought was a bit ridiculous since the kids were far ahead of the age of even knowing what that means. At any rate, I was really impressed with the quality of the writing at the beginning, less so as the book moved on. I liked the format of her "fine art" works woven in with shots that come from the family album and thought it was an interesting way to tell her story. But, I know that the photographic industry has worked long and hard to eliminate the less desirable aspects of old time methods and cameras and lenses so when I find someone working with old equipment and techniques like "colloidal suspension" on glass plates and find the resulting work under exposed, low contrast,poorly focused, suffering severe vignetting, etc. and passed off as art, I tend to not be too impressed. But hey, what do I know, she's the one with the McArthur Genius grant! I find her preoccupation with death (evidently inherited from her physician father) a big turnoff and was not impressed with shots of rotting corpses on a body farm even if she did use the old timey artistic techniques to get thrm. It was interesting to read her analysis of these pictures and what she saw in the subject matter but it was not enough to convince me that it was a worthy subject. Aspects of her personal life were certainly different and interesting reading so I think this book will appeal to some, not to others but I think it certainly provides a different perspective on the world and how we develop psychologically. And, just an opinion, but I think the cover photo is the best of the bunch.
This may be the best memoir I have ever read. I've followed Mann's photography for some time, from Immediate Family, through the southern landscapes, the commentaries on slavery, the studies of her husband's failing body, to the Body Farm work. What I didn't know was just how astonishingly eccentric her family actually is. Fully half of this book deals with her family: parents, grandparents, great grandparents, as well as her husband's family.Her family history rivals anything I've ever read before, from spellbinding tales of adverturers to criminals. Among her ancestors she has billionaires (in today's dollars), murderers, polyamourous relationships, drug dealers, inventors, artists, and writers. Branches of her family go back to Colonial America in 1630.She is a deeply Southern woman, bound to the land she comes from, yet conflicted by Confederate history. She writes that, like many affluent Southern children, she was essentially raised by a Black woman, who worked for her family for 50 years. In this book she tries to come to terms with the Southern mentality and the legacy of slavery, as well as her own parents' indifference towards child rearing.Recounting the bizarre stories would take me as long as it took to read the book. There are remarkable anecdotes on virtually every page of it, some of it almost unbelievable. Manhandling a dead body to the top of a hill to its repose at the Body Farm comes to mind, as does the recounting of her in-laws descent from high social standing to drug dealing and, finally, murder/suicide. Her own father's lifelong obsession with death, culminating in his suicide, seems to be a harbinger of Mann's own preoccupation with death and dead bodies. Her mother's lifelong distance and aloofness was offset by her relationship with the Black housekeeper.Sally Mann is one of the most interesting and creative personalities of the last century, in my opinion, stubbornly carrying out whatever odd and difficult project she conceives of. Her view of herself and her life is fierce, honest, and uncompromising. She never flinches from showing herself as she is, and never hides her failures and insecurities from us.This is more than a memoir of a photographer. In many ways, it is the story of the South. I've never understood this part of the Country until seeing inside of her mind through her memories, which she rigorously confirmed with her family, friends, and various documents she researched. It wasn't enough that she "remembered". She made sure that what she remembered was what really happened.Oddly enough, for an artist who has been called the preeminent photographer of her generation, her undergraduate and Masters degrees are in creative writing. Her book is brilliantly written. There is not a single dry sentence in it. Reading this book was one of the highlights of my reading year, and it will surely be one of yours.
I just finished the third reading of Sally Mann's "Hold Still." Three readings are usually sufficient for some disillusionment to arise, for imperfections to raise their hands, but this was not the case. This book is not a simple autobiography or, as it mentions in the cover, "A memoir with Photographs"; This book is one more piece in the immense work of Sally Mann and, as such, has constructed it with its accustomed meticulousness and honesty.Sally tells us her life, with details, but the purpose is no other than that we understand that every fact, every meeting, every look is building the floor on which we founded our work, which we decide to be or that we Is inevitable.The story of his Gee-Gee babysitter, the embarrassment of his in-laws, the mystery of his father, the "great" Larry Mann and his farm, his territory, that "Not only is abundant, with the kind of obvious beauty, Every day, that even a baby can appreciate, but also features the world-class drama of Virginia "; Everything is relevant, but not because it accumulates in his DNA, as a journalist insidiously insisted in a recent interview, but because Sally's gaze makes it relevant, analyzes, scrutinizes, integrates.Reading the book generates the same feeling of hearing her speak, especially in the documentary "What remains", we recognize the lucid artist, who selects with wisdom and quickly discards. But what the book can show us, and which largely escapes orality, is the critical ability that Sally has, culturally critical, and the clarity of concepts. Not many artists have, like her, the ability to articulate their concepts in clear language.The book touches fundamental themes of our human condition, such as death, love, beauty and racism. In the latter, racism reaches the bone when it tells us in a chapter on his project of portraying black men: "Exploitation lies at the root of every great portrait, and we all know it."Not a single direct advice, no shortcut list, what Sally offers us in this book is nothing more nor less than a confession, I insist, a work, in which we can see ourselves reflected or not, that can make us think, tremble, as in The chapter in which he describes how he took photographs at the University of Tennessee Anthropology Research Center; Known as the Body Farm, a program that studies how human bodies, in the open air, decompose. "One thing about the helpless dead hit me right away: the need to fix them, to join their drooping lips, to close their prying legs, to cleanse the eyes of liquefaction."Beyond the awareness that we are willing to produce art, or even to be able to do it, Sally urges us to pay attention to the evidence of existence that we leave in our lives and how that evidence shapes us, that's where we must look again , and again; There is our life and, if we want, there will be our art.
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