(no subject)
The "Forbidden Page"
According to an article written by Tim Appelo in the Seattle Weekly in 2002, journalists were banned from printing page 204 of Journals (hardcover) in articles or reviews, ostensibly because of its dark content. The page features a drawing of Cobain's face, torn from a comic book, shouting a refrain from the chorus of his most popular song, "Smells Like Teen Spirit": "With the lights out, it's less dangerous / Here we are now, entertain us!" Under the drawing is a sketch by Cobain of the rest of his body until his hips, its skeletal frame contrasting sharply with the furious-looking comic book image. Above the drawing-collage are six lines cut-and-pasted from an Alicia Ostriker poem called "A Young Woman, A Tree". The six lines, which begin the poem, describe a girl who passes a blooming tree, and envies its beauty; it has been suggested that by juxtaposing these lines with his emaciated self-portrait, Cobain was making a comment on his own loss of creativity and his personal image being in contrast to his public one.
According to an article written by Tim Appelo in the Seattle Weekly in 2002, journalists were banned from printing page 204 of Journals (hardcover) in articles or reviews, ostensibly because of its dark content. The page features a drawing of Cobain's face, torn from a comic book, shouting a refrain from the chorus of his most popular song, "Smells Like Teen Spirit": "With the lights out, it's less dangerous / Here we are now, entertain us!" Under the drawing is a sketch by Cobain of the rest of his body until his hips, its skeletal frame contrasting sharply with the furious-looking comic book image. Above the drawing-collage are six lines cut-and-pasted from an Alicia Ostriker poem called "A Young Woman, A Tree". The six lines, which begin the poem, describe a girl who passes a blooming tree, and envies its beauty; it has been suggested that by juxtaposing these lines with his emaciated self-portrait, Cobain was making a comment on his own loss of creativity and his personal image being in contrast to his public one.