Free Joni: The Creative Odyssey of Joni Mitchell by Katherine Monk

for being the skipper and letting me crew. You changed my life.
    My mother and my father, for supporting me without question when I asked you to, and letting me have the captain’s room to create in.
    My sister, Tracy, for sharing her record player.
    Allie and Sam, Pat Leidl, Janet Forsyth, Paul Dodsworth, Joe and Shannon Rotundo, and Lee Majors, for various brands of support that made this book easier (and furrier) to write.
    The universe, for arranging all the bizarre synchronicities that made this book what it is. There are too many to mention, but it seems when you write about Joni Mitchell, the spheres cooperate in the most unexpected ways.
    The spirit of Joan (all of them), whom I sensed next to me on every leg of the odyssey. Thank you for the inspiration and the magic.
    And Stephanie Innes, who has only two rules: “Pull your own weight, and have joy.” You make my little light shine brighter than it’s ever shone before.

Notes
Introduction
Friedrich Nietzsche, “Prologue,” Thus Spoke Zarathustra (Middlesex: Penguin, 1961), 49.
Martin Heidegger, “What Are Poets For?” Poetry, Language, Thought (New York: Perennial Classics, HarperCollins, 1971), 92.
Chapter One Lady Looked Like a Dude: Impersonation and Identity
Neil Strauss, “The Hissing of a Living Legend,” New York Times , October 4, 1998.
Alice Echols, “Thirty Years with a Portable Lover,” L.A. Weekly , November 25, 1994.
Angela LaGreca, “Joni Mitchell,” Rock Photo (June 1985).
Patrick Nagle, “... Ssshhhhhh... Listen, Listen to Joni,” Weekend Magazine , January 11, 1969.
Neil Strauss, “Joni with an ‘I,’” New York Times , October 18, 1998.
Barney Hoskyns, “Our Lady of the Sorrows,” Mojo (December 1994).
LaGreca, “Joni Mitchell.”
Hoskyns, “Our Lady of the Sorrows.”
Marci McDonald, “Joni Mitchell Emerges from her Retreat,” Toronto Star , February 9, 1974.
Melanie Klein, The Psycho-Analysis of Children (London: Hogarth Press, 1932).
Carl Jung, “Instinct and the Unconscious,” British Journal of Psychology 10 (November 1919).
Nietzsche, “Of the Despisers of the Body,” Thus Spoke Zarathustra , 63.
Jacques Lacan, The Mirror-Stage as Formative of the I as Revealed in Psychoanalytic Experience, translated by Alan Sheridan, Ecrits: A selection (New York: W.W. Norton & Co., 1977).
Ellen Levine, Tending the Fire: Studies in Art, Therapy & Creativity (Toronto: Palmerston Press, 1995), 72–74.
Cameron Crowe, “The Rolling Stone Interview,” Rolling Stone (July 26, 1979).
Joni Mitchell’s description of her piece is contained in the coffee table book StarArt , edited by Deborah Chesher (Alberta: StarArt Productions Limited, 1979.)
Quoted in Karen O’Brien, Joni Mitchell: Shadows and Light (London: Virgin, 2001), 292.
Jenny Boyd, Musicians in Tune: Seventy-Five Contemporary Musicians Discuss the Creative Process (New York: Fireside, 1992), 82.
Joni Mitchell: Woman of Heart and Mind, PBS American Masters documentary, 2003.
Timothy White, “Joni Mitchell—A Portrait of an Artist,” Billboard , December 9, 1995.
McDonald, “Joni Mitchell Emerges from her Retreat.”
Alan Jackson, “Joni Mitchell,” New Musical Express (November 30, 1985).
Crowe, “The Rolling Stone Interview.”
Sheila Weller, Girls Like Us (New York: Washington Square Press, 2008), 430.
Kurt Loder, Rolling Stone interview transcript, November–December 1987 http://expectingrain.com/dok/int/rs1987.html .
Stuart Henderson, “‘All Pink and Clean and Full of Wonder?’ Gendering ‘Joni Mitchell,’ 1966–74,” Left History (Fall 2005). https:// pi.library.yorku.ca/ojs/index.php/lh/article/viewFile/5682/4875 .
Brian Jewell, “John Kelly Brings Joni Mitchell to ‘Out on the Edge,’” Bay Windows (November 1, 2007).
Matt Diehl, “It’s a Joni Mitchell Concert, Sans