"In September 2003, I suggested to John's widow, Yoko Ono, that I should become his biographer," writes Philip Norman in the Acknowledgements section of John Lennon: The Life. However, after reading the final manuscript, "Yoko Ono was upset by the book," Norman tells us, "and would not endorse it . . . [saying] I had been 'mean to John.'"

I actually don't think Yoko's got anything to worry about; Norman's book is both clear-eyed and appropriately sympathetic as it traces the arc of Lennon's all-too-brief life and career. While there's much in here that's familiar, Norman uses both old and new sources to revisit apocryphal or second-hand stories -- most of which are familiar to Beatle fans -- and determine their veracity. He puts to rest, for example, the Did they or didn't they? question that has surrounded Lennon's vacation in Spain with manager Brian Epstein (they didn't), and accepts as fact many of the stories that expose John's darker side, such as his brutal beating of Cavern DJ Bob Wooler, or the lurid sexual fantasies involving his own mother.

There's also quite a bit that's new in here, too -- or, at least, was unfamiliar to me. Norman explores, for example, exactly what "business" Yoko was doing during Lennon's househusband years -- she was dealing mostly in mundane real estate transactions, but is also given full credit for shrewdly negotiating music contracts that maximized John's profits and protected his copyrights. He also examines some of the theater pieces that were based on Lennon's writings in the 1960s -- a hidden gem in the literate Beatle's career -- exposes a charming addiction to board games, and explains about as well as one can the complicated legal wranglings that finally dissolved the band and led to years of hard feelings.

For perhaps the first time, too, some of the supporting characters in Lennon's story finally come into their own. John's Aunt Mimi -- who can often come off as a bit of a shrew -- gets a bit of her own narrative, as Norman uses letters Mimi wrote regularly to a young female fan named Jane Wirgman to reveal just how thoughtful and protective of John Mimi could be, even as she continued to be embarrassed by his antics or appearance. You'll also have a better understanding of Freddie Lennon, John's seaman father who abandoned his wife and son, then rematerialized after John made it big. Freddie has his own reasons -- excuses -- for his actions, but for the first time, you'll have his own words and private correspondence to help you decide whether you buy it or not.

If there's a complaint I have about this otherwise thorough biography, it lies in Norman's narrative voice. Norman's prose isn't ever stilted -- he's too good a journalist for that -- but it can be somewhat stodgy (he calls the lyrics to "Twist and Shout," for example, "dippy"). He also inserts way too many clunky moments of foreshadowing of Lennon's fate, often resorting to eye-rollingly lame declarations of irony that are a stretch, at best.

For example, as the Beatles frolic for a photo session in New York during their first American tour in 1964, Norman can't help but indulge in dramatic voiceover. "Hindsight gives this routine scene a horrible irony," he writes. "Just across the park lies a craggy Gothic pile known as the Dakota Building" where John would be shot to death in 1980. Later, Norman tell us that for the 1972 U.S. Presidential campaign, "John pinned high hopes on the Democratic candidate, George McGovern, senator for South Dakota -- an omen if ever there was one . . . " It took me a moment to figure out why this was "an omen" -- until I realized it was the use of the word "Dakota" in the sentence that was supposed to be so ominous.

Perhaps even more annoying -- especially to the biographer in me -- there's no sign of a bibliography, sources, or endnotes, only an index. There were several times in Norman's book when I found myself saying "Where'd you get that?" and turned to the back looking for his source, only to come up blank. Perhaps, at 851 pages, there simply wasn't enough room left. But I'm sure I'm not the only one missing it. ( )

Philip Norman has produced a remarkably detailed and (I believe) accurate depiction of the life of John Lennon. He conducted in-depth research of the previously produced material about Lennon including books, newspaper and magazine articles, and widely distributed audio and video recordings, etc. However, he went beyond the public record of John Lennon through in-depth interviews and conversations with Lennon’s family members, friends, business associates, and even those who had infrequent and casual encounters with him. The result provides a fascinating look at a man who had major impacts on not only popular music, but also on the wider culture of our world and billions of individuals who were either aware of The Beatles and John during the 60s and 70s or have listened to his music, read his books, or watched his movies since his death. Norman reveals a very complex person who struggled with much insecurity throughout his life. Although he reached a pinnacle of success that would be the envy of most people, he endured the pain of much tragedy from an unstable early childhood life due to unreliable relationships with his father and mother, the death of his mother during his teenage years, his difficulty and lack of success with formal education, and the death of his close friend and early member of the band, Stu Sutcliff. However, Norman also reveals an extremely talented song writer and musician who was determined to succeed and control his own life and who was socially conscious and willing to use his celebrity and influence to try to make a difference. John Lennon was an avid reader, which supplemented his previous lack of interest in education, and may have broadened his perspectives. However, to me it seems like he could not control his idealism and antiauthoritarian beliefs enough to develop a satisfying and productive lifestyle and problem solving approach that would have enabled him to really make a difference. To me, Norman’s book reveals a John Lennon who could not control his excessive lifestyle including drug and alcohol abuse, sexual promiscuity, or social and business relationships. Nevertheless, the book shows that Lennon seemed to be beginning figure out his life and could have made many more significant contributions had he not been murdered. As a fan during the 60s and 70s I admired John Lennon as a songwriter, musician, and performer. However, I did not understand some of his behavior. After reading this book I realize that he had a troubled and messy life, which certainly precipitated much of his strange behavior. Most of us could say the same about our lives, and I still admire him. The book also made me realize that Yoko did not deserve much of the criticism she endured in the past. Norman’s book is a very worthwhile although lengthy read (860 pages). It will undoubtedly change some opinions about the life of John Lennon for all readers. ( )

This is a substantial new biography of Lennon: ostensibly erasing the generally derided effort of Albert Goldman; and updating Norman's earlier (1981) book on the Beatles "Shout!"

Some of the scaffolding for this book is obviously "Shout!" - as some sections are recognisably only slightly rewritten versions of material taken from that book.

But where "Shout!" portrayed Lennon as a deeply conflicted man: haunted by the loss of his father and mother, and as hen-pecked by his Aunt Mimi, and unsure what to do at the "toppermost of the poppermost" (as evidenced by his songs "Help" and "Nowhere Man" for example), this book takes a different tack.

It does not deny that Lennon was, at times, a troubled soul - but it does paint the causes (essentially, his family relationships) in much more detail, and arguably, in a more sympathetic light than before.

His oft-demonised Aunt Mimi, for example is recast as a loving surrogate parent, who denied him very little - and who, despite her marriage, and close family, was herself a lonely woman for much of her life. Norman transforms her from a cardboard cut-out into a human being.

It is likewise with Lennon's father, Alfred (Freddie). A rapprochement with his son late in both of their lives (which transforms the myth of John disowning him during the height of Beatlemania) with Freddie telling John the truth about his seeming "abandonment" of his son. A heartwarming story within a story.

It can therefore be no surprise, given the eirenic spirit of the book, that Yoko Ono is not painted as a frightening, foreign harridan who "broke up the Beatles."

But what surprised me was the comparative lack of reference to his mother, Julia - subject of some of his most haunting (and splenetic) songs. When compared to "Shout!", Julia gets short shrift. Other characters within "Shout!" also get "re-arranged": Quarrymen member Nigel Whalley becomes Nigel Walley in this book.

This is not a book for musical anoraks - it doesn't go into any detail regarding the songwriting process, or (with a notable exception or two) into sessions, production, etc. There is no discography attached - but readers would be better off reading Ian MacDonald's "Revolution In The Head" for that kind of information.

But these are minor quibbles. A very worthwhile book - and probably written just in time. The surviving witnesses are now in their late sixties (and Yoko is 75), and they won't be with us forever.

Recommended.