Since Davy Jones was the face of The Monkees, Micky Dolenz was the singer of the group's biggest hits, and Mike Nesmith was its unofficial leader and the one who had the most post-Monkees success as a maker of critically acclaimed records and movies and the de facto inventor of MTV, it's tempting to dismiss Peter Tork as the most faceless Monkee. However, he was The Monkees' finest musician--a masterful banjoist, finger-picking guitarist, and keyboardist--the one most different from his TV persona (a dumbo on the screen; a philosophical and intelligent man in real life), and by far the most unconventional one, which is saying a lot.
Peter's innate kindness and sunny disposition, and the empathy of his biographer, Sergio Faras, make Love Is Understanding: The Life and Times of Peter Tork and The Monkees a consistently pleasurable read. Peter never wanted anyone to write his biography, but I like to think that he might have been content with Faras's fair, respectful, and thorough treatment of the actor/musician's life. While Faras does not shy away from aspects of Peter's life that might have seemed seamy on the pages of another writer's book, he does so without judgement or an exploitative tone. I learned much about that life in this book, such as how Peter's parents allowed him to drink at a very young age (which may have set him up for alcoholism later in life), that he was briefly in Buffalo Springfield, that Mike lobbied to allow Peter to be the lead singer of "Saturday's Child", that The Monkees vetoed a pre-fame Steven Spielberg from directing an episode of their show, and that the FBI was keeping a dossier on those subversive "Monkeys" you can read it online here!).
Because Faras is Brazilian and Love Is Understanding was originally published in Portuguese, the new English translation from BearManor Media also has some minor wording issues (using "wedding" as a synonym for "marriage" or using the term "jokester" instead of "fool" to describe a well-known Shakespearean archetype, for example) that aren't too distracting. The abundant proofing errors (missing spaces between words is a regular issue throughout the book) are a bit much, though. Nevertheless, navigating typos and the occasional odd statement is a small price to pay for what is mostly an engrossing and intimate look at a talented, complex, thoroughly original artist who was anything but faceless.