Books
Tori Amos memoir ‘Resistance’ both profound and opaque
Singer/songwriter writes movingly of LGBT issues, family death while keeping the curtain closed on some aspects of her life and passions


‘Resistance: a Songwriter’s Story of Hope, Change and Courage’
By Tori Amos
Atria Books
Released May 5
272 pages
$26
A somewhat common — but far from universal — observation in Tori Amos fan circles is that her newer albums just aren’t as good as her definitive ‘90s masterpieces.
This isn’t unique to Amos. Some artists only have one or two good albums in them total (Alanis Morissette, Jewel) but keep issuing new albums that feel creatively spent. Some, like Lauryn Hill, don’t even bother to try. How many artists can keep a decade-long, white hot streak going indefinitely? And continue blowing the minds of fans who just get more jaded and less easy to impress as they, like the artist, age?
But even Amos herself has seemed curiously uninvested in later albums like “Native Invader” (2017) and “Unrepentant Geraladines” (2014). Her last tour was dubbed the “Native Invader Tour,” yet at her last area appearance in 2017, she played only two songs from the “Native Invader” album (and one was a bonus track at that!). That was typical of her shows that year. This is drastically reduced from her earlier practices. There are always a few standout tracks on each, but the overall impact has felt curiously clinical, musically bloodless. (If you want a super deep dive on this topic, Matthew Barton wrote a brilliant essay this week for The Quietus.)
What has become almost more interesting, though, is what she’s had to say, not sing. She’s always game to do a bounty of press — print and video/TV — with each new cycle (radio, of course, hasn’t played her for ages and never did much anyway) and the Amos we’ve gotten to know in these exchanges (a 2017 Vulture chat is especially good) is wise, illuminating, kooky and engaging.
Thankfully, a lot of that translates into her new memoir “Resistance: a Songwriter’s Story of Hope, Change and Courage,” out this month from Atria Books. It follows her 2005 memoir “Piece by Piece.” Its main thesis — that artists have a social responsibility to combat mercenary forces both political and systemic — is reasonably supported but far from what’s most interesting about it.
Although Amos has always had queer sensibility (she’s straight), what’s pleasantly surprising about the book is how much queer content it contains. In Amos’ mind, sexism — she argues convincingly it’s rampant in the music industry — and homophobia are twin sins and that’s linked her cozily with gay men since her early days playing at Mr. Henry’s a gay bar in Georgetown where Amos got her start at age 13, an experience the daughter of a United Methodist pastor describes in religious terms.
“Perhaps because it was gay men who took me under their wing when I was 13 and taught me how to survive — even at times through a large dose of reality, spelling out how a teenage girl in Washington could be manipulated — well, that’s its own song and those rivers run deep. Those fairy godfathers trying to teach me a drop of grace can go a long way, a lesson that my inner lioness needs reminding of a lot, but they gave and gave and gave and did not give up on me. Praise Jesus. So they led me, baptized in the barroom, to strength, to visibly blossom.”
She also writes of a 2014 concert she gave in Moscow on a stage at Crocus Arena where Putin was to appear the following day. Outraged by a 2013 “gay propaganda” law Putin had signed that made it illegal to tell LGBT Russian youth they were normal and give them reliable information on sexual orientation and gender identity, Amos tailored her set list to reflect her inner protest.
“The persecution of the LGBTQ community was — and is — real and terrifying,” she writes. “My set list in Moscow would speak loud and clear.”
Amos also writes briefly of a similar experience at at 2014 concert she gave in Istanbul.
Throughout the book, Amos-penned songs are shared that dovetail the various topics she covers. “Ophelia” closes a section about the confirmation of Supreme Court Justice Brett Kavanaugh in 2018 and “Cornflake Girl” is placed with a painful essay on female genital mutilation (it’s way more common in parts of the world than you’d guess).
Things lag a bit in a lengthy passage about the 1979-1981 Iran hostage crisis in which 52 Americans were held hostage for 444 days during a diplomatic standoff. Amos, still a D.C. piano bar regular at the time, writes of the change in the air when Reagan took office. Then Speaker of the House Tip O’Neill even joined her once at the piano to sing “Bye Bye Blackbird,” which she writes of fondly. Although always interesting to hear about, it at times feels like Amos is trying to play up her inside-the-Beltway locale to be of more import than it likely was. She writes of observing Hill movers and shakers conducting business over cocktails but how much could she really have overheard belting away at the ivories?
For me, the most gripping passages were the ones from Amos’ own life such as the initial rejection of her debut solo album “Little Earthquakes” by Atlantic Records in 1991, her experience being in New York City on 9-11 and her mom’s 2019 death following a debilitating stroke.
Other standout passages include fresh perspectives on Amos’ fraught relationship with Baltimore’s Peabody Conservatory (she was kicked out as a teen but invited back in 2019 to give a commencement address) and descriptions of her artistic process where she’s at times ethereal (she speaks often of the muses that bring her inspiration) and practical describing the often painstaking process of culling her musical noodlings and fragments into usable sonic wheat.
Her observations are at times profound. She writes of what she believes is the fallowness of the notion of artistic barrenness: “People who are addicted to power … can weaponize the thought of being creatively barren in order to debilitate the artist. They target artists specifically because they know that artists have the ability to reach the public in ways no one else can.” Ever worked with a narcissist? Those words ring true.
There are handfuls of “Gold Dust” (to use one of Amos’s songs) scattered piquantly throughout “Resistance.”
Despite the sometimes heavy topics, the essays are fairly short and tight. It feels like a nice, long visit with a trusted ally but she’s sharing not just off the top of her head, but on topics she’s in many cases spent a lifetime pondering — grief, honoring one’s instrument and inspiration, the price of selling out, how to stay in the game when the straight, white old boys’ club hold all the good cards and so on.
My quibbles are that I was hoping her husband and musical partner Mark Hawley — an artistic enigma who seems to not just enjoy but practically demand staying in the background — had emerged as a more fully formed figure. So little is known about him, yet so heavy has his influence been on Amos’s career, that he looms like a specter over the Amos universe.
It’s also highly odd that Amos mentions the death of her sole brother only in passing (were they simply not close? If so, why?) and that former boyfriend Eric Rosse is mentioned just once. He was the co-producer of her career-defining first two solo albums; their breakup, which Amos has never said much about, in part inspired her masterwork “Boys for Pele” (1996). They’ve been apart long enough now, surely she can assess his contributions to her formative works more unemotionally now, one presumes. So why does she barely acknowledge him?
And while Amos does write movingly of how mortifying the Y Kant Tori Read (her first band, which bombed with one 1988 album) era was, she’s frustratingly scant on details — did she feel musical kinship with her bandmates? How did they form? When did they officially disband? Did they provide any solace in the failure or accept any of the responsibility? Where are they now? And perhaps, more metaphysically, could there have ever been a “Little Earthquakes” if Y Kant Tori Read hadn’t happened? Amos blames herself for sinning against her art and her instrument and selling out but without sin there’s no redemption, artistic or otherwise.
That, perhaps, is what’s missing from Amos’ later work. Even with the usual struggles life eventually brings us all — the death of a parent most pronouncedly — Amos is almost too wise, too mature, too stable, too grounded to conjure up the woozy heat of earlier songs like “Bliss,” “Spark” or “Blood Roses.” It’s unfair, one must acknowledge, to expect her to maintain the kind of white-hot streak she had going ’til about “To Venus and Back” (1999). What would a 2020 Kurt Cobain album sound like had he lived?
Still it’s a bittersweet aftertaste “Resistance” leaves — as warmly as it goes down — that these are considerations a long-time fan can’t help but ponder.
Books
‘Hurt Capital’ chronicles young life of bipolar, trans writer
New book from Isaac Amend a rich and complicated tale

Washington Blade contributor Isaac Amend has published a new book, “Hurt Capital,” chronicling a range of topics related to his transgender status, a personal struggle following a psychotic breakdown, and more.

BLADE: Why did you write this book and why now?
ISAAC AMEND: In college, I was an avid writer for the Yale Daily News, and tried to prepare myself for a good writing career, taking classes with Pulitzer Prize-winner Michael Cunningham, and other notable authors, including Anne Fadiman and Cynthia Zarin. But when I got out of college, I spent six or seven years in the real world, outside of Ivy gates, racking up experiences to write about — whether it was falling in love with a woman, getting hit by a car in Cyprus, or being manic for 13 months straight. But once all of those things were done, I went back to my literary roots, frantically scribbling books and articles in my room at night. Now I want to have some sort of writing career, and I can partly thank the Blade for that, as you welcome most of my op-eds.
I felt like it was important to write about bipolar disorder in very honest and raw terms. I experienced a psychotic break from reality when I was 19 years old that I felt ashamed to tell everyone in my life about, but now I want to come clean with it. Recovering from a psychotic break is a complicated process, and I’ll never really know if my mind has fully recovered, but I do know that because of my break from reality, I’m able to tackle difficult problems in life without getting scared. I feel like it’s also important for the general public to know about how much hurt and pain transgender people feel on a daily basis, hence the name “Hurt Capital.”
BLADE: Who’s the audience for your book?
AMEND: It’s funny, this is a question that all authors need to answer in a book proposal to agents, and I did exactly that, querying dozens of agents. My book has three target audiences. The first are expats, or expatriates. These are people who live overseas — either on embassies in South Asia or in suburban compounds on the outskirts of Moscow. These are the places that I grew up in, and I felt “genderless” for some of my time as an expatriate, frolicking to and fro with not a worry in the world as I grew up in Pakistan and India. I want to connect with other people who have lived overseas.
The second target audience for my book are twins. I have an identical twin named Helen who is my best friend. I’m constantly trying to be a good brother to her, whether it’s helping her move apartments or buying her groceries. We connect on a very deep level, and I’m sure that my gender transition partly shocked her and in some ways, may have made her feel upset. It’s a unique phenomenon when one identical twin wants to be a man, and the other one wants to stay a woman. I’ll never fully understand how God made me bipolar and trans while he made my twin sister non-bipolar and cisgender.
The third target audience for my book are individuals with mental health issues. I want to connect with other people who have also gone through psychotic breaks, been manic, talked at the speed of light, felt depressed, or felt so anxious that they had to pop a lot of pills and stay in bed. I want to connect with people who suffer from schizophrenia, bipolar, ADHD, and OCD, among many other diseases. These disorders are so complicated in nature, but we need to be honest about their dimensions and how to best treat them.
BLADE: How long did it take to write and what was your process?
AMEND: The book didn’t take me long to write. I churned out around 5,000 to 7,000 words in one week, then I had a 500 word per day policy — it’s a policy I implement with all of my books. I would write 500 words per day usually at a bar at night. I was living in D.C. back then and would frequent Nanny O’Brien’s, a well-known Irish dive bar open late. I would pull out my iPhone and write 500 words (but usually more) in Google Docs. There were all sorts of characters at Nanny O’Brien’s — bartenders who would scream at me if I didn’t tip enough, people from the Russian embassy, and famous politicos who would bring their golden retriever in tow. I almost got into a fistfight there with a Russian diplomat, but still miss the memories that bar curated. I even told my landlord at the time that I associated Nanny O’Brien’s with the book.
BLADE: What are you thoughts on how the new Trump administration has attacked trans rights and do you see any hope in the near future?
AMEND: It’s a travesty, what’s going on. The new administration is cruel beyond belief, yet I still retain some semblance of hope for the future. I see our nation as divided, but a nation that still elects an almost equal amount of Republicans to the presidency as it does Democrats. Most large cities in the U.S. are dominated by progressive people who understand the value in diversifying sexuality and gender identities, and celebrating that diversity. I always tell people to “vote with their feet,” as in, if you have the privilege of being able to move to a new location, move to a city that is full of liberal minded people. But many trans youth don’t have the privilege of moving; they are stuck in schools full of students that bully them for their gender. Indeed, there is a massive mental health crisis happening among trans youth. The Trump administration has banned everyone under the age of 19 from receiving gender affirming care, and that is cruel. I have spoken openly about my belief that adolescents and other youth should be able to access puberty blockers, and I maintain that stance.
This seems out of left field, but I’ve seriously thought about pooling money together to pay for trans youth to receive medical care in Canada. It’s sort of a gauche idea, because trans youth presumably need to stay in school in the U.S., and their parents would have to agree to them going up north, but the idea still persists in my head. I guess I dream of ways that these kids can feel better, and receiving care in Canada comes to mind.
BLADE: What’s your message to young trans kids who are frightened during these difficult times?
AMEND: Keep your head up. Older trans people like me are fighting for you to have better lives. If someone tries to put you down in school just remember that they are putting you down out of an insecurity they harbor about themself or the world. Secretly, they feel inferior. Don’t forget that the qualities that you bring to the table — your unique gender and/or sexual identity — is what makes you beautiful.
BLADE: There are many queer memoirs out there; what’s unique about your story?
AMEND: My story is intersectional, meaning I weave a story about a transgender man who is also bipolar and is a twin and grew up overseas in Saudi Arabia, Pakistan, India, Russia, and Jordan. It’s not a one-dimensional story. It’s rich and complicated with tales of being manic and going on testosterone and being psychotic and hoping that I don’t lose all of my marbles in front of my twin and little sister and the rest of my family. I speak of KGB henchmen in Russia and spooks here in D.C. (kind of like that Russian diplomat who almost tried to punch me). I speak of many things—not just being queer.
The following is an excerpt from “Hurt Capital,” which is available now at Amazon and other retailers.
Dear Mom,
The pills in my bathroom cabinet are sitting next to each other like fifteen linebackers on a football field. Bolton. Edmunds. Greenlaw. Wagner. Warner. The Chiefs are winning, and I haven’t even spotted Travis Kelce yet. They’re all famous–each single pill bottle–each capsule I need to swallow with orange juice at night. I get the high pulp kind, now, from Trader Joe’s, that costs around four bucks. Semi pulp doesn’t put the tablets down fast enough. I’ve got every kind of med imaginable since my first episode ten years ago.
Bipolar has never felt so bad. But it’s also never felt so good. The mania that lasted for a year last September has crept away, but its high still remains in my head. At least partly. Partially. Essentially. Basically, it was awesome. I celebrated at every turn. Went walking for hours on end, only to feel my breath creeping into my lungs, and out, past midnight, when I dreamt of fairytales and candy cane land and piles of dollars stacked so high in front of Rick Ross. So high that he forgot he sold coke. I forgot he sold coke. I forgot a lot of that year, Mom.
Iwant to be like Rick Ross one day. I want to star in a song with Drake. Rapping about lemon pepper chicken and taking my celebrity son to French Montessori. I want to be a hustler, a gangster at every turn, a coke warlord just fiending for a kingdom. The kingdom I create is in my mind: it’s ruled by Dostoevsky and Tolstoy and even Pushkin. I named a cat after Pushkin. Russian writers have never felt so real. I want them to come back from the dead and resurrect themselves–all polished and everything. No wax. I remember visiting Tolstoy’s grave with you in Moscow, when henchmen roamed the city at night and CIA officers were prowling the embassy’s corridors. I was scared in Moscow. Scared back then. Scared of my female body. But now it’s a male one, and I’m a son. I’m your son, Mom. But I’m troubled. Very troubled indeed.
I went to a soccer game again. We are named Footyholics. We played near Logan Circle, in the backyard of a school, and I swear the soccer ball was going to kill me. It hit my head, with a bang–not a whimper–and zoomed past some crust on my earlobes. My black stud almost shook for a bit. I clenched the ring you got me on my index finger. You got it from Delhi, and now I’m remembering things back there as well, when you and I lived in India. But there are many things I still can’t remember, Mom. Just trust me on that one. Trust me.
Here’s one thing I do remember, though: getting in that car accident with you. In Delhi. You were all up in the front seat, and Helen and I were in the back. And a motorcyclist went clamp on the right window, and his flesh and blood were splayed all near for us to see. He died that day, and I think that’s the first time I ever saw you cry. I only saw you cry a second time, when Dad was in Kabul, and you missed him like hell, and Phoebe had a tantrum on the National Gallery steps, and you drove us back home, teary-eyed, and you just sat crying that day, in the DC suburbs. And there was not a damn thing I could do about it.
We lost the soccer game. Footyholics lost. But we grabbed a few beers after, at a place near the traffic circle, where expats and missionaries and bankers were fiending for a beer as well, all alike, just as I was fielding for a kingdom in my head. I swear this city is ruled by sociopaths sometimes. They just crawl around here, like ants around a hill, waiting to wreak havoc.
At the bar we were sitting outside, on a wooden table, and we all ordered some beers and some tacos and stuff. And some burritos with chicken. And I swear I shouldn’t drink, but I’m just like your husband–there’s nothing that tastes better than alcohol in this world, Mom. But beer is bad for me. It’s bad for a guy who thinks a soccer ball is going to kill him. At the restaurant, I spotted a street sweeper brushing away leaves. I suddenly fixated on the sweeper: on his crew cut, his black boots, his leather skin. I thought he was manic for leaves. I also thought the waitress hated Jesus until a cross kissed her neck. I thought many things, Mom, and none of them were true.
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Books
Bookstores full of LGBTQ-themed new releases
Novels, memoirs, and even a George Takei biography

Springtime, where the livin’ is already easy, the sun is warm, the fun is just starting, and the bookstores are full of great new releases like these.
NOVELS
For the reader who wants a thriller with a tinge of realism, look for “Sleeping Children: A Novel” by Anthony Passeron, translated by Frank Wynne (FSG, $27). The year is 1981, and American doctors are baffled by the presence of a disease that’s been popping up. How curious. Across the ocean, French doctors are also seeing the same confusing disease but Passeron’s family – his entire village, in fact – is dealing with addiction in addition to whatever illness is striking gay men. Yes, this is a novel. Keep telling yourself that. Out April 29.
If you’re up for a little romance this summer (and who isn’t?), then look for “Pioneer Summer: A Novel” by Kateryna Sylvanova and Elena Malisova, translated by Anne O. Fisher (Abrams, $27). It’s the story of Yurka, a wild child who’s afraid his time at summer camp is about to be filled with boredom – until he meets Volodya, who’s nothing at all like Yurka. What’s that they say about how opposites attract? This book is said to have been banned in Russia, where the authors are TikTok “sensations.” Out June 3.
So you’re the type who judges a book by its title. Then meet “Everyone Sux But You,” a graphic novel by K. Wroten (Henry Holt, $27.99). It’s a tale of a girl who doesn’t give a, well, you know, about anything but mosh pits, dancing, and her BFF. The two have particularly bonded over a deep loss and that doesn’t help their dark outlook but sometimes, you have to see the bright side of life to really live. Out May 20.
MEMOIRS
Fans of Star Trek or of actor George Takei will absolutely want “It Rhymes with Takei” (Top Shelf Productions, $29.99). It’s a graphic memoir that tells Takei’s story, from childhood to adulthood, about being in the closet for most of his life, and how coming out at age 68 was such a revolution for him. But it’s more than a biography; this book also helps readers understand what it was like to be gay for most of the 20th century and why it’s important to know. Out June 10.
Here’s another must-have for TV watchers: “So Gay for You: Friendship, Found Family, and the Show That Started It All” by Kate Moennig and Leisha Hailey (St. Martin’s Press, $32). This is the story of two women, a show that might have bombed (hint: it didn’t), and the making of a beautiful friendship. If you’re a fan of “The L Word,” the other word you’ll use with this book is L-ove. Out June 3
One more, for TV fans: “Yet Here I Am: Lessons from a Black Man’s Search for Home” by Jonathan Capehart (Grand Central, $30) is a biography from the MSNBC host and member of the Washington Post editorial board. It’s Capehart’s story of fitting in, finding his way to success, and standing with feet in two different worlds. Out May 20.
NONFICTION
If you’re already eyeballing the idea of eating al fresco, then you must read “Dining Out: First Dates, Defiant Nights, and Last Call Disco Fries at America’s Gay Restaurants” by Erik Piepenburg (Grand Central, $30). Once upon a time, meeting new people wasn’t just done in bars or nightclubs. Piepenburg says that even a century ago, gay restaurants were great places to make new friends, find new loves, and have a good meal, too. This fascinating book takes you around the country and through the decades, and it’s a fun, fun read. Out June 3.
And when times are bad and you’re feeling low, you’ll want to pick up “Generation Queer: Stories of Youth Organizers, Artists, and Educators” by Kimm Topping and Anshika Khullar (Lee & Low, $22.95). It’s full of inspiring stories of young people, teen leaders, under-30 folks who want to represent and make change. The short biographies in this book are quick to read and they’ll help you understand that the next generation is not about to let things slide backwards. Out May 27.
If these great books aren’t enough for you, be sure to talk to your favorite bookseller or librarian. There are lots of books out this spring and coming for summer, and you’re not going to want to miss them.
Books
A taste for the macabre with a side order of sympathy
New book ‘The Lamb’ is for fans of horror stories

‘The Lamb: A Novel’
By Lucy Rose
c.2025, Harper
$27.99/329 pages
What’s for lunch?
You probably know at breakfast what you’re having a few hours later. Maybe breast of chicken in tomato sauce. Barbecued ribs, perhaps? Leg of lamb, beef tongue, pickled pigs’ feet, liver and onions, the possibilities are just menus away. Or maybe, as in the new book, “The Lamb” by Lucy Rose, you’ll settle for a rump roast and a few lady fingers.

Margot was just four years old when she noticed the mold on the shower walls, and wondered what it might taste like. She also found fingers in the shower drain from the last “stray,” the nails painted purple, and she wondered why they hadn’t been nibbled, too.
Cooked right, fingers and rumps were the best parts.
Later, once Margot started school, Mama depended on her to bring strays from the woods to their cottage, and Mama would give them wine and warm them up. She didn’t often leave the house unless it was to bury clothing and bones, but she sometimes welcomed a gardener who was allowed to leave. There was a difference, you see, between strays and others.
But Eden? Margot couldn’t quite figure her out.
She actually liked Eden, who seemed like a stray but obviously wasn’t. Eden was pretty; she never yelled at Margot, although she did take Margot’s sleeping spot near Mama. Eden made Mama happy; Margot could hear them in the bedroom sometimes, making noises like Mama did when the gardener visited. Eden was a very good cook. She made Mama softer, and she made promises for better times.
And yet, things never got better. Margot was not supposed to call attention to herself, but she wanted friends and a real life. If she was honest, she didn’t want to eat strays anymore, either, she was tired of the pressure to bring home dinner, and things began to unravel. Maybe Mama didn’t love Margot anymore. Maybe she loved Eden better or maybe Mama just ached from hunger.
Because you know what they say: two’s company, three’s a meal.
Not a book to read at lunch? No, probably not – although once you become immersed in “The Lamb,” it’ll be easy to swallow and hard to put down.
For sure, author Lucy Rose presents a somewhat coming-of-age chiller with a gender-twisty plot line here, and while it’s occasionally a bit slow and definitely cringey, it’s also really quite compelling. Rose actually makes readers feel good about a character who indulges in something so entirely, repulsively taboo, which is a very surprising – but oddly satisfying – aspect of this unique tale. Readers, in fact, will be drawn to the character Margo’s innocence-turned-eyes-wide-open and it could make you grow a little protective of her as she matures over the pages. That feeling plays well inside the story and it makes the will-they-won’t-they ending positively shivery.
Bottom line, if you have a taste for the macabre with a side order of sympathy, then “The Lamb” is your book and don’t miss it. Fans of horror stories, this is a novel you’ll eat right up.
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