MixedThe New York Times Book ReviewMorris wrote the book with the help of the novelist Wesley Stace, but its voice is unmistakably his: direct, brash, flippant, charming, impenetrably self-assured. And funny. On just about every page, there’s an anecdote or remark to make you laugh ... At the same time, though, there is something odd about the tone, or odd for a memoir. Much of the prologue seems preoccupied with establishing what Morris isn’t interested in talking about or revealing ... It’s not that the book lacks candor...Yet amid all the dish and the this-is-how-it-works assertions, there’s not a lot of introspection or self-examination ... It’s still a good story ... the drama of this moment, like many in the book, doesn’t quite come alive ... At points of trauma — that junior-high bullying, the death of his father a few years later — [Morris] often switches from a just-the-facts account of what happened to a just-the-facts account of the dance he made about it, all trees and interesting branches and no forest ... Almost every Morris dance is a paragon of structural clarity and musical design. His memoir isn’t ... In short, the qualities that make Morris a great artist seem not to be fully engaged here. If you want a much more illuminating sense of his work and why it matters, as well as the crux of the biography, better told, with most of the best anecdotes, the book to read is still Joan Acocella’s 1993 Mark Morris. In Out Loud, there’s a sense that he’d rather be back in the studio, making dances.