“Hold Still…[is a] weird, intense and uncommonly beautiful new memoir…. A cerebral and discursive book about the South and about family and about making art that has some of the probity of Flannery O’Connor’s nonfiction collection ‘Mystery and Manners’ yet is spiked with the wildness and plain talk of Mary Karr’s best work…. An instant classic among Southern memoirs of the last 50 years.” —Dwight Garner,New York Times

'Photographer Sally Mann's book Hold Still is one of the great portraits of the American South. Written in her pitch perfect prose style, it is a textbook of illumination and desire for anyone who hears the siren call of art beckoning to them. It's southern to the bone, hell on wheels. Hold Still is a masterpiece.' Hold Still The following is from Sally Mann's memoir, Hold Still. Mann is one of America’s most renowned photographers. She has received numerous awards, including NEA, NEH, and Guggenheim Foundation grants, and her work is held by major institutions internationally. 6 of 11 7 of 11 Sally Mann Kim Rushing Show More Show Less 8 of 11 Sally Mann’s photograph of the site in Mississippi of Emmett Till’s death in 1955. From 'Hold Still' Show More Show Less.

“[A] wonderfully weird and vivid memoir—generously illustrated with family snapshots, her own and other people’s photos, documents, and letters—describes a life more dramatic than I had imagined.” —Francine Prose, New York Times Book Review

“Hold Still [is] a glorious marriage of words and pictures, a courageous and visually ravishing memoir.” —BookPage

“A record of [Sally Mann’s] life that is intimate, outrageous, frank, and fearless. The vivid descriptive energy and arresting images in this impressive book will leave readers breathless.” —Publishers Weekly (starred review)

“Intelligent, heartfelt, hilarious, disarming…. It flows like wine-fueled gossip.” —Boston Globe

“Richly compelling and evocative…. An unforgettable memoir. But it’s more than that…. The abiding and precious gift of this book is precisely this: Mann’s highly personal exploration of her passion, and her perseverance.” — Claire Messud, Bookforum

“The twilit aura that makes Sally Mann’s photographs so evocative comes through just as strongly in her writing.” —USA Today

“A boldly alive, bracingly honest, thoroughly engrossing, sun-dappled, and deeply shadowed tale of inheritance and defiance, creativity and remembrance by an audacious and tenacious American photographer.” —Booklist (starred review)

“Hold Still, multigenerational in its scope, southern in its humor, and Nabokovianin its ambition, is gorgeously written and convincing.”—The Atlantic

“[Sally Mann’s] prose examines Southern life as closely as her camera lens examines the Southern landscape, and Hold Still explains not just her photographic technique, but also her resolve to look head-on at things most people would rather not see.” —Associated Press

“Read this book. If you want to be an artist, carry it around like your Bible. If you strive to be a better mother or daughter, or a more insightful human being, Hold Still needs to be with you at all times…. As soon as I finished the last page and closed the cover, I turned to page one and began reading it again. It is remarkable.” —BookReporter

“Generous, enlightening, thought-provoking, often dark but more often funny enough to make you laugh out loud, Hold Stillis a book to hold on to for dear life, because this is one of those books that if you loan it out, you’ll never see it again.” —Malcolm Jones, The Daily Beast

“Ravishing and disturbing… the memoir seems effortless, but it is as artfully structured as her photographs, and as seductive. An exhilarating, riveting book…” ­­­–– Times Literary Supplement

“A sweeping tale of Mann’s coming of age, her family history, her artistic influences and choices. It is also an homage to the South…. Hold Still is thought-provoking and is certainly arresting to look at.” —The Washington Post

“Sally Mann…has written an exquisite memoir…it is foremost a literary achievement, showing Mann to be as ingenious with words as she is with a camera.” —Huffington Post

“[An] extraordinary book…. plumbing family archives, Mann unfolds tales of scandal, murder-suicide and racism, while the stunning visuals reveal her evolving creative growth. The result is as fresh and startling as a candid.” —People

“Mann’s prose—luminous, chatty and smart—together with photographs that arrest and provoke—invites readers to hold the camera still with her, and in that space, to imagine whole narratives that accompany these slices in time.” —Los Angeles Times

“Mann’s writing—visceral, moving, often funny—proves as astutely observant and compelling as her photographs.” —New York Times Style Magazine

“Mann cannot answer all the questions she asks herself and sometimes doubts her purpose and her memories, but in holding still in the fast-flowing stream, she has produced the rarest of things, a picture so true it is breathtaking.”—The Telegraph

“Captivating…Her writing is idiomatic…funny, defiant, intellectually insightful, and candidly personal…. The best autobiography published so far this year.” Kirkus Reviews, CoverStory

“A powerfully moving, meditative examination not just of an artist’s life and work but also of something much more permanent, mysterious and complex: the South, both in close-up and from afar…. She’s a rarity: the ambidextrous artist.” —The Richmond Times-Dispatch

“A stirring tale of a life in pictures…. A profound self-portrait of an artist and her medium, and of the people and landscapes that have fueled that art.” —Garden and Gun

Converter for mac download free. “[A] crackling, forthright exploration of her life and career…. The incisive writing and remarkable photos attest to Mann’s relentless habit of watching the world, waiting for ‘that incubating purity and grace that happens, sometimes, when all the parts come together.’” —The Cleveland Plain Dealer

“A sprawling, drawl of a memoir, stretching narrative into imagery, personal memories into historical research and creative reflection into critical theory. Deftly and courageously written, it is spacious enough to accommodate all the photographer’s doubts (as an artist) as well as her several certainties (as a mother).” —The Houston Chronicle

“The voice is so clear and so crisp, so ready to admit error but also to stand up for itself…. rarely are our protagonists so gosh darned admirable.” —San Francisco Chronicle

“Mann’s…memoir lacks a dull moment—partially due to the beauty of her language, and partially because of her striking photographs, and the ones she dug up from the family attic.” —The Rumpus

“Endlessly engaging and fascinating.” —RVANews

“A reckoning with the unreliability of both memory and photography as ways of preserving the past…. The writing is so engaging and her intellect so lively that the long ride seems almost too short. This is clearly a book Mann needed to write, and her passion for the task gives Hold Still much of the same exquisite power found in her photography.” —Go Knoxville

“Startling…. A family history like no other.” —New York Journal of Books

“For all her accolades as a visual artist, it might surprise you to know that Mann is also one hell of a writer. Hold Still is stark, disturbing and beautiful.”—Nashville Scene

“Sumptuous…. Mann writes insightfully about her ancestors, her friends and her own work…. The tangled and arbitrary threads that tether each of us to what matters in this world.”—Toronto National Post

“Instant classic” —Vogue

“Mann’s deeply personal and unflinchingly honest reflections on her family, her photography, and her brushes with the harsh specter of public condemnation make Hold Still not only an uncommonly compelling memoir, but also an invaluable fond of wisdom.” —Bustle

“If you only read one book this year, Hold Still by Sally Mann should be it.”—KMUW (NPR)

Advance Praise

“Hold Still is a wild ride of a memoir. Visceral and visionary. Fiercely beautiful. My kind of true adventure.” —Patti Smith, musician and National Book Award-winning author of Just Kids

Sally Mann Controversy

“One would not need to know Sally Mann’s remarkable work as a photographer to be swept up in her memoir Hold Still, which draws upon a family history so rife with jaw-dropping drama that it could provide the grist for a dozen novels. With prodigious intellect and a telling instinct for the exact detail that will reveal character or throw it into question, Mann delves into the treacherous territory of memory, mesmerized by the relentless dance of beauty and decay. In doing so, she manifests in prose the acuity of seeing that has propelled her to the top rank of contemporary artists.” —Andrew Solomon, author of Far From the Tree and The Noonday Demon

“Photographer Sally Mann’s book Hold Still is one of the great portraits of the American South. Written in her pitch perfect prose style, it is a textbook of illumination and desire for anyone who hears the siren call of art beckoning to them. It’s southern to the bone, hell on wheels. Hold Still is a masterpiece.” —Pat Conroy, author of The Death of Santini and South of Broad).

“In Hold Still, Sally Mann demonstrates a talent for storytelling that rivals her talent for photography. The book is riveting, ravishing — diving deep into family history to find the origins of art. I couldn’t take my eyes off of it.” —Ann Patchett, author of Bel Canto and This is the Story of a Happy Marriage

“For three decades Sally Mann has captured images that are unique, haunting, beautiful, disturbing, stark – it would take a mid-sized thesaurus to hold all the adjectives that have been used to describe both the art and the artist. In Hold Still, she wraps her prose around her pictures, revealing a fine talent for writing and a rich family history.” —John Grisham, author of The Firm and Sycamore Row

“Sally Mann’s Hold Still is just like her pictures: forthright, adventurous, loving, fearless, beautiful, intimate, and somehow uncanny. That means it’s probably just like her.” —Luc Sante, author of Low Life and Kill All Your Darlings

“What I admire most about Sally Mann’s new book is not her ability to write captivating sentences–she does. It’s the honesty and fearlessness, the two mixed together, compelling her to own up to her mistakes, to acknowledge her winnings, to accept her losses (and those of her family). For this quality alone, Hold Stilldeserves a fixed place in the library of American memoir.” —Paul Hendrickson, author of Hemingway’s Boat: Everything He Loved in Life, and Lost Delayed text messages on iphone.

“There has never been a book like this. At once a poetics of place, a work of deep history, a bildungsroman, and an acute inquiry into the big subjects: love, family, other animals, the nature of creativity. It is sublime. It’s also very funny. Haunting and haunted, Hold Still is the memoir of an artist that is art itself.” —Melissa Holbrook Pierson, author of The Place You Love is Gone

Sally Mann Hold Still Review

“This spectacular modern memoir reads like a sweeping gothic novel, filled with mystery, violence, controversy, and, of course, love in all its forms. It is a literary family album enlivened by many of the images in the stories told. A Southern work, it is also universally accessible, as all of Sally Mann’s work is, for she reaches deep into her ancestral headwaters and the twisted rivers of human remembrance. A triumph.” —Jamie Lee Curtis, actress

In 1987, the photographer Sally Mann wrote in a letter to a friend that she often found it difficult “to reconcile one’s work with one’s life.” She had recently watched her seven-year-old son, Emmett, leap in front of a car and be hurled fifty feet to the asphalt, and though the boy suffered only minor injuries, Mann’s residual terror was threatening to upend a photo project to which she’d already devoted two years.

In retrospect, Mann’s letter seems eerily prescient. Five years later, when those photos debuted at the Institute of Contemporary Art in Philadelphia, they provoked a national clamor. The shots—of Mann’s son and two young daughters, sometimes clothed and sometimes not—were, depending on the viewer, either brilliant depictions of feral innocence or lurid images bordering on child pornography. Trying to reconcile Mann’s work with her life became, for a brief time, a kind of national pastime.

The memory of that clamor, along with curiosity about what Mann must’ve felt, as the object of so much vitriol, lends immediate appeal to Mann’s new book, Hold Still: A Memoir with Photographs. And while Hold Still satisfies that curiosity, it also takes us behind the camera of an artist who has spent more than three decades photographing in the South, the woman Time magazine once deemed “America’s best photographer.”

From a certain angle, Mann’s life doesn’t appear tailored to memoir treatment. She was born in Virginia in 1951 and enjoyed a prosperous, horsey childhood that left few if any scars. She married at the age of nineteen and has remained married ever since. And she’s spent most of her life so rooted to the family’s 365-acre farm on the Maury River that her husband “once irritatedly clocked five weeks during which I didn’t so much as go to the grocery store.” But then this is Sally Mann we’re talking about: an artist whose take on the most tranquil and quotidian of subjects—her own children, playing beside a river—triggered a firestorm. In prose, as in photography, it’s all about the eye. How Mann sees a subject is often more intriguing than the subject itself.

With the same “magpie aesthetic” that has marked her photography career and turned her lens to whatever might lie in its viewfinder (be it kids, kudzu, corpses, or moody Southern landscapes), Mann wanders through the story of her own life—the centrality of family and farm—with agile charisma. She also provides an illustrated examination of her photographic techniques that somehow—and this is terribly rare, whenever an artist interrogates his or her own work—captures the process without vacuuming the mystery out of it. The equanimity of her own life story, notoriety aside, is counterbalanced by the “payload of southern gothic” she finds when sifting through the family history: “deceit and scandal, alcoholism, domestic abuse, car crashes, bogeymen, clandestine affairs,” and so on, up to and including “bloody murder.” On a quieter note, she’s particularly nimble in her consideration of Virginia “Gee-Gee” Carter, an African American woman who worked for her family for half a century, and helped raise Sally.

Most affecting, however, might be her depiction of her father, Robert S. Munger, “a renegade Texan with an excellent northern education, an atheist, and an intellectual,” a physician who loved dogs, art, fast foreign cars, and amateur photography. Mann connects the dots between his artistic impulses and hers, but also traces her own preoccupations with “the ineffable beauty of decrepitude, of evanescence, of mortality”—most vividly seen in a series of photographs of dead bodies that Mann debuted in 2003—to those of her father.

But in examining her memories of the man, Mann makes a stirring—and, for her, troubling—discovery. Those memories have been corroded by photography. When trying to envision her father, what she envisions, instead, are photographs of him. She diagnoses a modern condition that, upon reflection, might be familiar to any of us whose memories of a long-lost grandparent are based upon old snapshots—less of a person than of an image.

Hold Still Sally Mann Signed Copy

“It is because of the many pictures I have of my father that he eludes me completely,” she writes. “In my outrageously disloyal memory he does not exist in three dimensions, or with associated smells or timbre of voice. He exists as a series of pictures…. It isn’t death that stole my father from me; it’s the photographs.” This is one of the more powerful reckonings in a book that’s loaded with them. It’s a profound self-portrait of an artist and her medium, and of the people and landscapes that have fueled that art.