SUNDAY, AUGUST 8, 2010
KLMNO
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E5 Rosanne Cash tells her side of the story cash from E1
or her own journey as a musician, writer, sister, wife and mother. Rather, it is a tale of paths she took that can also serve as a road map for anyone who has faced struggles, disappointments, even tragedy. In other words, a road map for anyone.
But writing a memoir was
something of an odd decision in the first place for Cash, now 55. Growing up in the shadow of fame, she guarded her privacy. And as she became a successful and critically acclaimed artist in her own right, she insisted on a “real sharp demarcation between private and public.” “It’s an emotional paradox for
me,” she says of writing the book. “But I’ve seen my own story co- opted, and I didn’t want it co- opted. And it was time to step into my family legacy, ancestry, the things that have been passed on, what’s in my DNA. Also, I’m a pretty good writer. I knew I could do something poetic with it.” As she talks, Cash is the picture of serenity and ease, clearly com- fortable in her skin and quick to make others feel the same way. She has a warm laugh and broad smile, and her answers to ques- tions are thoughtful and carefully considered. Nothing about her feels rote. Nothing feels false.
In the book, there are areas of her life where she has chosen to reveal less rather than more. She does not delve into her breakup with Crowell, for instance, be- cause she felt it would not be re- spectful to their children. And she studiously avoided taking shots at others, even when she was tempt- ed to. “Part of the power of the book is
that it’s not diluted by bitterness,” she says. “I just couldn’t. It went against everything that I think about integrity. . . . It’s not that I don’t harbor bitterness [laughs] or blame people, but to write about it publicly just seems cheap.” What Cash has left out, she
says, doesn’t change the big pic- ture. And what she has left in is intimate and engaging. She writes with a novelist’s de- tail about her childhood, remem- bering herself “as a withdrawn, pudgy girl with a swollen face and a foggy head.” And later she pro- vides illuminating stories of her six-month sojourn to London as a young woman and about record- ing her various albums, including telling Crowell that the reworked version of her song “Real Wom- an,” on “Interiors,” sounded “like
a [bleeping] Pepsi commercial.” But the memoir is sharpest and most moving when she returns to her family, specifically her par- ents. Her mother, a third-genera- tion Italian American and a strict Catholic, is both lauded and la- mented, an example to her daughter of how and how not to live. That her mother remarried and found happiness and fulfill- ment later in her life is clearly a great consolation. Cash’s father’s presence is more
keenly felt. After describing the agony of losing a baby, she in- cludes the spiritually charged let- ter her father wrote following the miscarriage. After summoning his mother’s spirit and a band of angels to console her, he con- cludes by writing: “You must start to gain strength now and some- how rise above the pain of all this.
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Your family loves you very much, and although the days and nights will be hard for a while you will persevere. All my love, Dad. She writes, too, about telling her ailing father about the book she was writing, describing in de- tail one of the chapters, and how her father responded, quietly, “Just to think of you makes my heart swell with pride.” Reminded of that passage, Cash beams. “He was so proud in that way
that fathers are proud of their daughters,” she says. “It was so much more simple than people would believe. He was just a
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“It’s an
emotional paradox for me. But I’ve seen my own story co-opted, and I didn’t want it
co-opted.” — Rosanne Cash, on writing a memoir
EARLY LIFE: Rosanne Cash’s parents, singer Johnny Cash and his first wife, Vivian Liberto Cash Distin, above; and Rosanne with her father, below.
versality of it all. You begin to realize that every- one has a tragedy, and that if he doesn’t, he will. You recognize how much is hidden beneath the small courtesies and civilities of every- day existence. Deep sorrow and traces of great loss run through everyone’s lives, and yet they let others step into the elevator first, wave them ahead in a line of traf- fic, smile and greet their children and inquire about their lives, and never let on for a second that they, too, have lain awake at night in longing and regret, that they, too, have cried until it seemed impos- sible that one person could hold so many tears, that they too, keep a picture of someone locked in their heart and bring it out in quiet, solitary moments to caress and remember.
Although the deaths of her par- ents, and her treasured stepmoth- er June Carter Cash, were over- whelming, it wasn’t until she had to undergo and recover from brain surgery that Cash pushed hard to finish the book. “Every- thing felt urgent after that,” she says. “I was really looking at my own mortality.” Laughing, she adds: “You’re in the green room for death. You’re next. There’s no wall between you and your own mortality, and it’s a highly moti- vating situation.”
HELAYNE SEIDMAN FOR THE WASHINGTON POST
proud dad. People would think he was removed or competitive. Not at all.”
The death of her father in 2003 hit her hard. She fainted at the fu- neral home. In her eulogy, she made the key distinction between what the rest of the world felt and what his children felt: I can almost live with the idea of a world without Johnny Cash, because in truth there will never
COURTESY ROSEANNE CASH
BE a world without him. His voice, his songs, the image of him with his guitar slung over his back, all that he said and sang and strummed changed us and moved us and is in our collective memory and is documented for future generations. I cannot, how- ever, even begin to imagine a world without Daddy.
She writes knowingly — and ca-
thartically — about death and loss; the imprint it leaves, the shadow it casts, the binding uni-
So, no, Rosanne Cash’s parents will not read her book. Johnny and Vivian are gone from this world. But perhaps a greater sense of herself has emerged in their absence. “I guess that’s the most liberat- ing thing about losing your par- ents,” she says. “You don’t com- pare yourself to them anymore, so it frees you from having to com- pare yourself to anyone else. This is who I am.”
heimj@washpost.com
Rosanne Cash will read from her memoir and sign copies at 7 p.m. Wednesday at Sixth & I Historic Synagogue.
Read a review of Rosanne Cash’s new memoir,
“Composed,” in today’s Outlook section and at
washingtonpost.com/ books.
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