Review: ‘On the Path of Joni Mitchell’ by Ann Powers – A Musical Maverick’s Faces

“Travelling: On the Path of Joni Mitchell” by Ann Powers provides a complex exploration of Joni Mitchell’s life, depicted through the eyes of a critic rather than a traditional biographer. Powers identifies herself as “a critic, a kind of mapmaker,” and her book traverses Mitchell’s journey across eight decades, interweaving the singer’s musical evolution with moments of personal reflection and critical theory.

Powers frequently interrogates her own perspectives, which adds a deeply reflective tone to the narrative. Her approach is both illuminating and occasionally distracting, as she grapples with Mitchell’s more problematic characteristics.

The narrative starts somewhat cautiously with a prelude in which Powers debates whether to address her subject as “Joni” or “Mitchell.” She resolves to use both names depending on context, a decision symbolical of the exacting detail she brings to her analysis of Mitchell’s groundbreaking songwriting and musical creativity.

From the outset, Mitchell is portrayed as an artist whose creative restlessness was complemented by an unwavering determination. During her rise in the late-60s, she disrupted the predominantly male tradition of singer-songwriting. Amidst the Laurel Canyon scene, Mitchell was surrounded by musicians like David Crosby, Graham Nash, and James Taylor. While these men were captivated by her talent, none could match her creative pace. Powers likens her to “the proverbial girl in the playground pickup game who cheers on the boys, but then grabs the ball and throws it in a perfect spiral towards the basket.”

Mitchell’s most renowned songs often emerged from deep introspection, contrasting with the communal creativity of Laurel Canyon’s bohemian milieu. Her celebrated 1971 album “Blue” exemplifies this introspection, likely rooted in her upbringing in Saskatoon. At nine, she contracted polio and temporarily lost the ability to walk, a hardship that informed her resilience and artistic vision.

Powers effectively connects Mitchell’s recovery with the symbolic image of her skating on a frozen lake, featured on the inner sleeve of the 1976 album “Hejira.” In the photograph, Mitchell’s poised figure on ice suggests a blend of memory and childhood freedom.

Throughout the book, Powers moves fluidly across Mitchell’s life, making surprising links between her past and present. This underscores Mitchell’s creativity as a perpetual journey fraught with risks and rewards. Her path took her from Canadian folk roots to influential collaborations with jazz musicians like Jaco Pastorius and Charles Mingus.

However, Powers does not shy away from Mitchell’s more contentious actions. She delves into the 1976 incident when Mitchell adopted a black alter ego, complete with an afro wig and face paint. This act, intended as homage but seen as cultural appropriation, is scrutinized through contemporary black scholars’ writings, making for uncomfortable yet necessary reading.

Intriguingly, Powers also explores the poignant story of Mitchell’s reunion with the daughter she had given up for adoption early in her career. Powers herself has a personal connection to adoption, adding a layer of empathy to her narrative.

In recent years, Mitchell has been venerated, especially by young female musicians who see her as a pioneering figure. Powers, however, questions this near-saintly adoration, arguing that it oversimplifies Mitchell’s complex humanity and artistic identity.

Powers’s scepticism towards nostalgic idolization provides a refreshing counter-narrative to the myth of Mitchell as an untouchable icon. Her thoughtful critique encourages readers to reconsider their perceptions of Joni Mitchell.

Source: The Guardian