By André Gide

This is often the foremost autobiographical assertion from Nobel laureate André Gide. within the occasions and musings recorded right here we discover the seeds of these subject matters that obsessed him all through his profession and imbued his vintage novels The Immoralist and The Counterfeiters.

Gide led a lifetime of uncompromising self-scrutiny, and his literary works resembled moments of that existence. With If It Die, Gide decided to relay with no sentiment or embellishment the conditions of his formative years and the beginning of his philosophic wanderings, and in doing so that you could carry all of it to gentle. Gide's unapologetic account of his awakening gay hope and his portrait of Oscar Wilde and Lord Alfred Douglas as they indulged in debauchery in North Africa are exciting of their frankness and by myself make If It Die a necessary significant other to the paintings of a twentieth-century literary grasp.

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Additional resources for If It Die...: An Autobiography

Sample text

Then, after what seemed like an eternity, the trailer flipped over, which in turn caused the car to go up onto its side. We had to get a tow truck to come out to get all of our wheels back onto the ground. The Gentrys limped back into Memphis with one side of the car looking like a hurricane had hit it — but we were lucky to be alive. After the success of "Keep on Dancing," our next single, "Spread It on Thick," didn't fare as well. It peaked in the first week of January 1966 at #50 on Billboard's Hot 100, while the B-side, "Brown Paper Sack," got some regional airplay.

Now, radio stations barely have enough material in heavy rotation to be able to put together their own Top 20 list. But in the sixties, so many records got airplay that Billboard had a "Bubbling Under" chart — it was created specifically for those singles that were about to crack the Hot 100. " So, we were still getting airplay in some areas — and we still had a loyal following. In 1966 we released a song called "Every Day I Have to Cry," which had been a #46 hit for a guy named Steve Alaimo back in 1963.

I booked the Gentrys into a club in the Ramada Inn in Memphis so we could stay in one place. I know that must sound ironic, now, coming from someone who's been on the road — and loving it — for the last 25 years, but traveling conditions then were not as they are now, and I had been gigging constantly since my senior year in high school. I was looking forward to sleeping in my own bed every night, playing music for fans in my own hometown and taking a paycheck to the bank every week. What I had no way of knowing was that rock and roll was on a collision course with professional wrestling.

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