New book by Corey Taylor brings sarcasm, insight

Stephanie Markham, Editor-in-Chief


If readers of Corey Taylor’s previous two autobiographical books thought his signature sarcasm couldn’t get any more relentless, they are in for a surprise with his most recent writing, “You’re Making Me Hate You.”

Another memoir-style book, the fully titled “You’re Making Me Hate You: A Cantankerous Look at the Common Misconception that Humans Have Any Common Sense Left” was released in July.

Taylor is known for fronting the bands Slipknot and Stone Sour, but in his books he gives fans a more intimate look at his personality, which differs (mostly) from his aggressive stage persona.

As usual, this book includes anecdotes from Taylor’s life that even the casual reader who isn’t a fan of his music will find interesting. Though, this time they are more humorous and relatable.

Whereas his first book, “Seven Deadly Sins,” went from stories about his troubled upbringing to scenes of intense partying and sexual encounters, and “A Funny Thing Happened on the Way to Heaven” detailed his lifetime of experiences with the paranormal, the third has more day-to-day situations and annoyances.

Taylor includes chapters about bad drivers, aggravation at the airport, and other people’s irritating children.

The airport chapter, “Flight of the Dumbkoffs,” seemed to drag on for a little longer than necessary, especially for it being such a clichéd topic to joke about.

There were instances in “Seven Deadly Sins” where Taylor was unnecessarily critical of certain celebrities or others, which came across as more judgmental and opinionated than the book needed to be.

However, readers know exactly what they’re getting into with “You’re Making Me Hate You” simply by the title. And Taylor does a good job of balancing his social critique with meaningful self-evaluation in this book.

There’s an entire chapter toward the end, for instance, called “Hello, Pot—I’m Kettle” in which he talks about his own blunders and shortcomings, like his caffeine addiction, poor concentration, or the time when he accidentally fired a shotgun in his grandma’s house as a kid.

While the ranting can feel belabored at times, this isn’t just an entire book of complaining. Taylor also makes a point to impart some of his wisdom with advice on how to live through some of the irking situations he mentioned.

He advises readers to think before blowing their money on useless garbage that’s not going to last, for example.

What fan’s of Taylors music will probably be most interested in is the chapter called “What the F— is That Noise?” where he gives his opinions on the state of the art form today

While the chapter is enjoyable, and his credibility is strongest here because of his presence in the music world, it could have gone more in depth.

Most of his music fans will agree that overproduced, auto-tuned radio “rock” and “pop” music are garbage, along with the show “Glee” and artists like Avril Lavigne.

He spent some time talking about what makes music good, giving examples of what jazz players like Charlie Parker and Dizzy Gillespie did for music. He should have done more of that instead of going on a tangent about garbage TV shows, though he did have some good points.

Overall, Taylor’s tone carries a hint of smartass without overdoing it and is mostly lighthearted, though it’s still guided by a grim outlook on humanity.

Anyone who sees the good in everyone probably won’t see eye to eye with Taylor after reading the book. However, one of his strengths in his writing is that he does not hold back; he has conviction in his views and backs them up with examples so readers can understand his reasoning even if they do not agree.



Stephanie Markham is a senior journalism major. She can be reached at 581-2812 or [email protected].