Gil Scott-Heron (1949–2011)

I am an ageing white Brit: what do I know about black American student politics in the sixties? Nothing. For that very reason, a book which takes me into the mind of a person deeply involved in the movement is an important read. Of course, this is one man's view, but he is someone with a greater insight than myself.

It does not take a master's degree in history, to know that a sit in organised by black students is not going to end well. Even today, in the enlightened twenty-first century, a show more black person rebelling against the system is far more likely to be shot than a white person in the same situation. Back then, nobody was even highlighting this unfairness.

Heron makes his case well and is intelligent enough to build a good story, rather than simply hitting us with a polemic. We get to care about the characters, who are well rounded human beings. The one criticism that I have, is the same as I made about 'Laidlaw', which is set in Scotland: I accept that to have a black American youngster, or a grizzled Glasgow detective, say, "I say, old chap, what a spiffing idea!", would be unrealistic but, in both cases, the selected solution, to write in a phonetic American/Scottish accent, makes reading difficult for foggies, like me, who I would think, make up a considerable part of the intended audience. I found myself, regularly, having to re-read sections because I could not even make out the words, let alone their meaning.

Perhaps I came upon this book a little too late: it would certainly have made more impact fifty years ago, but it is still well worth the effort of reading. show less

Gil's voice definitely leaps off the page in his posthumous memoir. Fans of his music definitely need to read it. I can't exactly suss out why his tour with Stevie Wonder on campaign for MLK day is used as the framework for it, but I suppose the reverence in which Gil seems to hold his heroes gives some clue. The Last Holiday does feel a little bit frustratingly incomplete, never delving particularly deeply into his mysterious lost years and rumors of homelessness and addiction, which show more honestly feels like a bit of a cheat despite the periodically brutal honesty of the man and the rest of the work. But the very last chapter, a few brief pages focusing on the death of his mother, the kind of love the Scott family practiced (or didn't), his children, and how he could've been a better man, is absolutely devastating. A fitting end to his life's work - the moments of brilliance and devastating honesty more than make up for any shortcomings. show less

If you know Heron's work, you will recognize immediately that this memoir was written by the man himself; slightly discursive at times, full of wordplay (sometimes clever, and sometimes a little trite) full of a solid practicality and sense of fun. The book doesn't focus clearly on the campaign to adopt Martin Luther King Day as a national holiday; about 30% of it deals with that story and his respect and affection for Stevie Wonder at the heart of it all; the rest gives a quick overview of show more the life and times of Heron himself. I enjoyed almost every word. show less

Compelling reading and a great expose on life in New York in the late 60s/early 70s. The story concerns the murder of a low-level criminal and examines the individual, the crime and society in general from the point of view of various locals. the is This was written by Gil Scott-Heron when he was 19 and is an amazing first novel. The story really draws you in with its great characters and vivid description. The colloquial language can be a little hard to follow at times but hang in there. show more It's worth it. show less