Amplifying the Text: Paratext in Popular Musicians' Autobiographies

Abstract

In popular musicians' autobiographies, the paratext supplements the dialogue between subjects and readers with a second discourse parallel to the text proper. Introductions, forewords, and blurbs often interpellate readers directly, instructing them on how to contextualize and read the text that follows, while discographies and sessionographies complement more subjective narratives of career accomplishments. Photographs can reinforce the authenticity of a narrative, illustrate a subject's rise to notoriety, or aggrandize a performance persona. With varying degrees of subtlety, paratext recasts listeners into readers and disciplines their reading accordingly.

Disclosure statement

No potential conflict of interest was reported by the author.

Notes

^[1] In Paratexts, Genette divides paratext into two parts: the peritext—elements contained within the book such as the dedications, preface, and illustrations—and the epitext, which encompasses interviews, publicity materials, and reviews that address the original text, as well as relevant letters, diaries, and manuscripts by the author. For purposes of space and focus, I will limit my discussion to the extra-textual material within a published work and use “paratext” and “peritext” interchangeably.

^[2] Somewhat confusingly, Lejeune refers to the autobiographer's name on his or her title page as the “signature,” which ratifies the truthfulness of the account (192). Yet, in addition, literal signatures can appear as a form of written testimony within autobiographies, especially in the African-American tradition, where subjects sign their names at the beginning or end of an account to attest to the authenticity of their recollections as well as demonstrate their mastery of the written word.

^[3] In addition to being Edwards's co-author, Frank served as Edwards's longtime business manager.

^[4]George Harrison'sI Me Mine anticipates Decoded's privileging of lyrics over linear narrative as a mode of discourse. In Harrison's account, a relatively brief, impressionistic 62-page autobiographical sketch (including interpolations from Beatles confidant Derek Taylor and woodcut illustrations) introduces an extensive section of photographs and 300 pages of facsimile song lyrics and commentary.

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Notes on contributors

Matthew Sutton

Matthew Sutton has a PhD in American studies from the College of William and Mary. His current research project investigates autobiographies by musicians from the US South.