Indie rocker Liz Phair’s “Horror Stories” is an explosive, unconventional memoir with a jumble of memories that play out like life.
When Liz Phair emerged from the Chicago indie-rock boys club with her seismic debut, 1993’s “Exile in Guyville,” she laid the foundation for her career with piercing honesty. She was profane or poetic, often both. For women especially, Phair’s name became synonymous with lucidity, wit, self awareness, strength and a particularly feminine sense of agency, an act of retaliation in a male-created world.
Phair calls the book “a look at how we really become who we are,” through “small indignities.” At its best, “Horror Stories” is an excavation of what lies in the subconscious as you float through the world. It shows how buried hurts will crop up randomly, at will. In that sense, “Horror Stories” reflects reality with a blunt irreverence, like many great Phair songs.
Such illumination is catnip for fans. But “Horror Stories” offers only a handful of these music-oriented reflections. Phair focuses instead on the greater fabric of her idiosyncratic life that produced the songs —a life often “too straight to be deeply enmeshed with the artists’ communities [she] knew,” and still “too bent to settle down with the mainstream suburban crowd.” The result was loneliness.
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