The Millions

Thirteen Songs That Prove Lou Reed Was a Literary Master

Intriguing both bibliophiles and music geeks in one gesture, the New York Public Library recently established a Lou Reed archive that makes accessible hundreds of hours of the man’s labyrinthine audio and video recordings, many photographs taken of and by Reed himself, press clippings from his notorious concerts, artwork, and selections from his personal papers. For those (like me) who insist on giving the best of rock lyrics the same respect as literature, seeing Reed’s personal archive get the same rollout that acclaimed writers such as John Updike or Toni Morrison might receive is pretty exciting. And there’s no better place than the NYPL to give a proud New Yorker like Reed—who made a long career out of writing about the city’s strange, eccentric, and marginalized—this kind of attention. The bleary, blurry image emblazoned on the limited-edition library cards are taken from Mick Rock’s iconic cover shot for Transformer, arguably Reed’s most popular solo record. It’s a creative way of bridging the gap between the bookshelves and the streets, which is a natural space for Reed’s work to live.

What made Reed’s songs special went beyond his notorious obsession with decadence, his caustic dry wit, and his sneaky romantic vulnerability. He was also one of the most literate of musicians and wasn’t shy about making his literary influences known. As and took inspiration from the likes of , , , , and . , his odd later-period collaboration with , is perhaps best passed over—but basing a metal record on a 19th-century Austrian play is something very few writers would have even imagined, let alone attempted. Reed brought an informed, sophisticated writer’s eye to the kinds of underworlds he inhabited and observed, and his sense of language was as keen as a journalist’s. Reed made sure all the who, where, what, how, why bases got covered, using his own laconic, inimitable language.

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