Patti Smith Remembers Life With Mapplethorpe

Images From 'Just Kids' By Patti Smith

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Photos of Patti Smith and Robert Mapplethorpe

Just Kids
Just Kids
By Patti Smith
Hardcover, 304 pages
Ecco
List price: $27

Read An Excerpt

More than 40 years after she first moved to the city, Patti Smith is enough of a New York icon that despite her less-than-ostentatious manner — she arrived alone at NPR's New York studios wearing a knit cap and scuffed snow boots — some people who see her on the street stop her to say hello.

It wasn't always that way. She first arrived in the city at 20 years old, an aspiring artist with a passion for French poets and American rock 'n' roll. Smith recounts those years, and in particular her relationship with the provocative photographer Robert Mapplethorpe, in a new book called Just Kids.

"Sometimes [people] seem to think I came out of the womb, you know, cursing, with an electric guitar," Smith tells NPR's Deborah Amos. "I think it's important for people to realize that we were all young, all naive, and also we had lived in a time that had magic."

Smith met the 21-year-old Mapplethorpe on her first day in the city, and Just Kids is the story of their romance, friendship and creative bond. She and Mapplethorpe met in the summer of 1967, both children of religious upbringings, both influenced by ideas about art and outsider culture. Smith writes of staying up late to paint and listen to records in their shared apartment on Hall Street in Brooklyn, but when they first became friends, they were so poor, they sometimes slept on the street.

"You know, I wasn't a stranger to hard times. I used to read the Bible — well, I still do, but when I was young I read the Bible quite a bit — and by Christ's example, he embraced poverty," Smith says. "So, all of my role models, whether it was the disciples, or John the Baptist or Arthur Rimbaud, slept under the stars."

Smith dismisses the notion that the godmother of punk reading the Bible might strike some as a surprise.

"I don't know why," she says. "The very first word on my very first record is 'Jesus.' "

The line, in its entirety, is, "Jesus died for somebody's sins but not mine." Smith says the negation doesn't much matter.

"I still invoke him as an entity to reckon with."

An Artistic Pair

As Smith describes him in Just Kids, Mapplethorpe is striking, a "Hippie shepherd boy" with dark curls. She says the pair — two-of-a-kind, lanky outsiders who shared artistic drive and a physical connection — "fulfilled a role for each other."

"As it says in the book," Smith says, "we woke up knowing that we were no longer alone."

They also influenced each other's art. But Smith stops short of taking credit for guiding Mapplethorpe to the medium that made him famous.

"I said, 'You should take your own photographs.' I didn't mean for him to become a photographer," she says. "Once he started taking pictures, he just fell in love with photography."

Mapplethorpe took the iconic cover photograph for Smith's first album, Horses, which came out in 1975.

"The only rule we had was, Robert told me if I wore a white shirt, not to wear a dirty one," Smith says. "I got my favorite ribbon and my favorite jacket, and he took about 12 pictures. By the eighth one he said, 'I got it.' "

In Just Kids, Smith writes that when she looks at the photo today, "I never see me. I see us."

The book, she says, is the story of Smith and Mapplethorpe, together, becoming the artists that the world knew.

"Really, when I met Robert, we were unformed. That's why I called the book Just Kids," Smith says. "I really want people to comprehend that we were young. And it took a while to become who we evolved into. And I think for Robert it was a struggle, because at a certain point it meant that he had to make a choice."

Mapplethorpe's choice was to explore his sexuality, to leave New York for San Francisco and come back with a boyfriend, to create photographs with explicit, sometimes shocking nudity.

"I knew that I could never have a relationship with him the way that he would with a male," Smith says. "But of course as time went by, I realized that what Robert and I had, no one else would have, male or female."

Mapplethorpe died in 1989 after battling AIDS. Both he and Smith knew it was coming.

"Oh, it was very painful," Smith says. But they remained partners until the end.

"I promised Robert the day before he died that I would write our story," Smith says. "And it took me 20 years, but I kept my promise."

Excerpt: 'Just Kids'

Just Kids
Just Kids
By Patti Smith
Hardcover, 304 pages
Ecco
List price: $27

When I was very young, my mother took me for walks in Humboldt Park, along the edge of the Prairie River. I have vague memories, like impressions on glass plates, of an old boathouse, a circular band shell, an arched stone bridge. The narrows of the river emptied into a wide lagoon and I saw upon its surface a singular miracle. A long curving neck rose from a dress of white plumage.

Swan, my mother said, sensing my excitement. It pattered the bright water, flapping its great wings, and lifted into the sky.

The word alone hardly attested to its magnificence nor conveyed the emotion it produced. The sight of it generated an urge I had no words for, a desire to speak of the swan, to say something of its whiteness, the explosive nature of its movement, and the slow beating of its wings.

The swan became one with the sky. I struggled to find words to describe my own sense of it. Swan, I repeated, not entirely satisfied, and I felt a twinge, a curious yearning, imperceptible to passersby, my mother, the trees, or the clouds.

I was born on a Monday, in the North Side of Chicago during the Great Blizzard of 1946. I came along a day too soon, as babies born on New Year's Eve left the hospital with a new refrigerator. Despite my mother's effort to hold me in, she went into heavy labor as the taxi crawled along Lake Michigan through a vortex of snow and wind. By my father's account, I arrived a long skinny thing with bronchial pneumonia, and he kept me alive by holding me over a steaming washtub.

My sister Linda followed during yet another blizzard in 1948. By necessity I was obliged to measure up quickly. My mother took in ironing as I sat on the stoop of our rooming house waiting for the iceman and the last of the horse-drawn wagons. He gave me slivers of ice wrapped in brown paper. I would slip one in my pocket for my baby sister, but when I later reached for it, I discovered it was gone.

When my mother became pregnant with my brother, Todd, we left our cramped quarters in Logan Square and migrated to Germantown, Pennsylvania. For the next few years we lived in temporary housing set up for servicemen and their children — whitewashed barracks overlooking an abandoned field alive with wildflowers. We called the field The Patch, and in summertime the grown-ups would sit and talk, smoke cigarettes, and pass around jars of dandelion wine while we children played. My mother taught us the games of her childhood: Statues, Red Rover, and Simon Says. We made daisy chains to adorn our necks and crown our heads. In the evenings we collected fireflies in mason jars, extracting their lights and making rings for our fingers.

My mother taught me to pray; she taught me the prayer her mother taught her. Now I lay me down to sleep, I pray the Lord my soul to keep. At nightfall, I knelt before my little bed as she stood, with her ever-present cigarette, listening as I recited after her. I wished nothing more than to say my prayers, yet these words troubled me and I plagued her with questions. What is the soul? What color is it? I suspected my soul, being mischievous, might slip away while I was dreaming and fail to return. I did my best not to fall asleep, to keep it inside of me where it belonged.

Perhaps to satisfy my curiosity, my mother enrolled me in Sunday school. We were taught by rote, Bible verses and the words of Jesus. Afterward we stood in line and were rewarded with a spoonful of comb honey. There was only one spoon in the jar to serve many coughing children. I instinctively shied from the spoon but I swiftly accepted the notion of God. It pleased me to imagine a presence above us, in continual motion, like liquid stars.

Not contented with my child's prayer, I soon petitioned my mother to let me make my own. I was relieved when I no longer had to repeat the words If I should die before I wake, I pray the Lord my soul to take and could say instead what was in my heart. Thus freed, I would lie in my bed by the coal stove vigorously mouthing long letters to God. I was not much of a sleeper and I must have vexed him with my endless vows, visions, and schemes. But as time passed I came to experience a different kind of prayer, a silent one, requiring more listening than speaking.

My small torrent of words dissipated into an elaborate sense of expanding and receding. It was my entrance into the radiance of imagination. This process was especially magnified within the fevers of influenza, measles, chicken pox, and mumps. I had them all and with each I was privileged with a new level of awareness. Lying deep within myself, the symmetry of a snowflake spinning above me, intensifying through my lids, I seized a most worthy souvenir, a shard of heaven's kaleidoscope.

My love of prayer was gradually rivaled by my love for the book. I would sit at my mother's feet watching her drink coffee and smoke cigarettes with a book on her lap. Her absorption intrigued me. Though not yet in nursery school, I liked to look at her books, feel their paper, and lift the tissues from the frontispieces. I wanted to know what was in them, what captured her attention so deeply. When my mother discovered that I had hidden her crimson copy of Foxe 's Book of Martyrs beneath my pillow, with hopes of absorbing its meaning, she sat me down and began the laborious process of teaching me to read. With great effort we moved through Mother Goose to Dr. Seuss. When I advanced past the need for instruction, I was permitted to join her on our overstuffed sofa, she reading The Shoes of the Fisherman and I The Red Shoes.

I was completely smitten by the book. I longed to read them all, and the things I read of produced new yearnings. Perhaps I might go off to Africa and offer my services to Albert Schweitzer or, decked in my coonskin cap and powder horn, I might defend the people like Davy Crockett. I could scale the Himalayas and live in a cave spinning a prayer wheel, keeping the earth turning. But the urge to express myself was my strongest desire, and my siblings were my first eager coconspirators in the harvesting of my imagination. They listened attentively to my stories, willingly performed in my plays, and fought valiantly in my wars. With them in my corner, anything seemed possible.

In the months of spring, I was often ill and so condemned to my bed, obliged to hear my comrades at play through the open window. In the months of summer, the younger ones reported bedside how much of our wild field had been secured in the face of the enemy. We lost many a battle in my absence and my weary troops would gather around my bed and I would offer a benediction from the child soldier's bible, A Child's Garden of Verses by Robert Louis Stevenson.

In the winter, we built snow forts and I led our campaign, serving as general, making maps and drawing out strategies as we attacked and retreated. We fought the wars of our Irish grandfathers, the orange and the green. We wore the orange yet knew nothing of its meaning. They were simply our colors. When attention flagged, I would draw a truce and visit my friend Stephanie. She was convalescing from an illness I didn't really understand, a form of leukemia. She was older than I, perhaps twelve to my eight. I didn't have much to say to her and was perhaps little comfort, yet she seemed to delight in my presence. I believe that what really drew me to her was not my good heart, but a fascination with her belongings. Her older sister would hang up my wet garments and bring us cocoa and graham crackers on a tray. Stephanie would lie back on a mound of pillows and I would tell tall tales and read her comics.

I marveled at her comic-book collection, stacks of them earned from a childhood spent in bed, every issue of Superman, Little Lulu, Classic Comics, and House of Mystery. In her old cigar box were all the talismanic charms of 1953: a roulette wheel, a typewriter, an ice skater, the red Mobil winged horse, the Eiffel Tower, a ballet slipper, and charms in the shape of all forty-eight states. I could play with them endlessly and sometimes, if she had doubles, she would give one to me.

I had a secret compartment near my bed, beneath the floorboards. There I kept my stash — winnings from marbles, trading cards, religious artifacts I rescued from Catholic trash bins: old holy cards, worn scapulars, plaster saints with chipped hands and feet. I put my loot from Stephanie there. Something told me I shouldn't take presents from a sick girl, but I did and hid them away, somewhat ashamed.

I had promised to visit her on Valentine 's Day, but I didn't. My duties as general to my troop of siblings and neighboring boys were very taxing and there was heavy snow to negotiate. It was a harsh winter that year. The following afternoon, I abandoned my post to sit with her and have cocoa. She was very quiet and begged me to stay even as she drifted off to sleep.

I rummaged through her jewel box. It was pink and when you opened it a ballerina turned like a sugarplum fairy. I was so taken with a particular skating pin that I slipped it in my mitten. I sat frozen next to her for a long time, leaving silently as she slept. I buried the pin amongst my stash. I slept fitfully through the night, feeling great remorse for what I had done. In the morning I was too ill to go to school and stayed in bed, ridden with guilt. I vowed to return the pin and ask her to forgive me.

The following day was my sister Linda's birthday, but there was to be no party for her. Stephanie had taken a turn for the worse and my father and mother went to a hospital to give blood. When they returned my father was crying and my mother knelt down beside me to tell me Stephanie had died. Her grief was quickly replaced with concern as she felt my forehead. I was burning with fever.

Our apartment was quarantined. I had scarlet fever. In the fifties it was much feared since it often developed into a fatal form of rheumatic fever. The door to our apartment was painted yellow. Confined to bed, I could not attend Stephanie 's funeral. Her mother brought me her stacks of comic books and her cigar box of charms. Now I had everything, all her treasures, but I was far too ill to even look at them. It was then that I experienced the weight of sin, even a sin as small as a stolen skater pin. I reflected on the fact that no matter how good I aspired to be, I was never going to achieve perfection. I also would never receive Stephanie 's forgiveness. But as I lay there night after night, it occurred to me that it might be possible to speak with her by praying to her, or at least ask God to intercede on my behalf.

Robert was very taken with this story, and sometimes on a cold, languorous Sunday he would beg me to recount it. "Tell me the Stephanie story," he would say. I would spare no details on our long mornings beneath the covers, reciting tales of my childhood, its sorrow and magic, as we tried to pretend we weren't hungry. And always, when I got to the part where I opened the jewelry box, he would cry, "Patti, no ..."

We used to laugh at our small selves, saying that I was a bad girl trying to be good and that he was a good boy trying to be bad. Through the years these roles would reverse, then reverse again, until we came to accept our dual natures. We contained opposing principles, light and dark.

I was a dreamy somnambulant child. I vexed my teachers with my precocious reading ability paired with an inability to apply it to anything they deemed practical. One by one they noted in my reports that I daydreamed far too much, was always somewhere else. Where that somewhere was I cannot say, but it often landed me in the corner sitting on a high stool in full view of all in a conical paper hat.

I would later make large detailed drawings of these humorously humiliating moments for Robert. He delighted in them, seeming to appreciate all the qualities that repelled or alienated me from others. Through this visual dialogue my youthful memories became his.

Excerpted from Just Kids by Patti Smith. Copyright 2010 by Patti Smith. Excerpted by permission of Ecco, an imprint of Harper Collins. All rights reserved.

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