Elliott Smith and the Big Nothing
| Industry | Publishing |
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| Products | Books |
Elliott Smith and the Big Nothing is a biography authored by Benjamin Nugent that explores the life of musician Elliott Smith. Released by Da Capo Press on October 30, 2004, the publication appeared soon after the anniversary of Smith's passing. The narrative incorporates interviews with producers Rob Schnapf and David McConnell, along with insights from acquaintances such as Pete Krebs and Bill Santen; however, it does not include original conversations with Smith himself, his family members, or his closest friends.
Critical reception
Critics offered varied opinions on the book. Publishers Weekly acknowledged Nugent's coverage of key moments in Smith's life but criticized the limited depth, leaving enthusiasts "disappointed by this short and shallow biography." According to PopMatters, Nugent's approach muddled the boundary between fandom and journalistic impartiality, describing the biography as "murky, indistinct and woefully incomplete." CNN pointed out that the author devoted excessive attention to '90s indie bands and that the focus on Smith's sense of humor seemed unconvincing. Reviewers also pointed out the absence of firsthand accounts from Smith's family and close collaborators like Joanna Bolme, Neil Gust, Sam Coomes, and Janet Weiss. Significantly, many of these associates provided interviews to SPIN shortly after the book had been finalized.
A notably severe critique came from LA Weekly's Alec Hanley Bemis, who labeled the work as "shallow," "sloppy," and hastily assembled. He argued that it relied predominantly on secondhand sources with minimal verification beyond cursory online research. Bemis highlighted a glaring factual error where Nugent confused Smith’s New York City companion—mistaking Russell Simins, drummer for The Jon Spencer Blues Explosion, for hip hop executive Russell Simmons. This inaccuracy persisted in subsequent editions without correction.
On the other hand, Jim DeRogatis from the Chicago Sun-Times commended Nugent for his meticulous research in portraying Smith’s brief and tragic life story. Similarly, the Austin Chronicle remarked that the biography "opens a window of insight into our reluctant hero."
Author response
In the paperback version released a year later, Nugent included an afterword responding to criticism. He disclosed that his publisher had presented him with two possible deadlines: either the first anniversary of Smith’s death or the release date of Smith’s posthumous album From a Basement on the Hill. Nugent aimed for the album’s release date; however, when it coincided with the anniversary, he was compelled to expedite completion of the manuscript.