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It is, today, not the 13th anniversary of the publication of Steven Morrissey’s autobiography (it had been out for ten days) but something much better: the 13th anniversary of the Sunday Times publishing A. A. Gill’s merciless mauling of it—a review which went on to win Hatchet Job of the Year

A. A. Gill was something of a polarising figure himself, but: damn, he could write: “He tells us he ditched “Steve”, his given name, to be known by his portentous unimoniker because — deep reverential breath here — great classical composers only have one name. Mussorgsky, Mozart, Morrissey.”

His memoir being deemed a Penguin Classic on first publication would be one of the more ludicrous facts surrounding the work, were it not for the fact that “The publishing director of Faber and Faber sent the singer an open letter begging him to join the ‘house of Eliot’.”, and continued...

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(My favourite bit of that article, though, is Johnny Marr declaring that he, too, has been “offered a book deal, a serious one ... It will be an autobiography, of course – that or my collection of fascinating public bus tickets from the ’80s.”) Anyway, back to Gill, who says:

His account of growing up and going to school in Manchester is “laughably overwrought and overwritten, a litany of retrospective hurt and score-settling that reads like a cross between Madonna and Catherine Cookson”

I’m not sure it really is a hatchet job, though, because Gill calls this passage where Morrissey sings for the first time “revelatory and touching”—when, to me, it sounds like someone who thinks they’re a writer but has somehow never heard of understatement

The very first moment Morrissey even suggested (let alone demanded) that his book be a Penguin Classic should have had Penguin hitting the eject button.