A gripping, precisely composed tale about music and those who give their lives to it.
A young woman attempts to enter the elite and mainly male world of professional classical musicians during the 1950s in this literary novel.
In 1953, cellist Irena “Reenie” Siesel has just graduated from a conservatory. There, she’d been called gifted, exceptional even, but so far she’s only had offers for teaching positions—a path reserved for those unworthy of performing for a living. Making it as a performer is particularly hard for a woman because, as one female musician puts it, “the problem with women performers was they lacked the single-minded devotion necessary to sacrifice everything to their instruments.” Then Reenie gets a call out of the blue to replace the cellist of the Modern Strings, an avant-garde New York ensemble, at a music festival in Newport, Rhode Island. The group will play a selection of pieces, “from the Baroques to the moderns,” culminating in a new work by the ensemble’s difficult but brilliant leader, composer Arthur Cohen. During the four-day festival, Reenie attempts to navigate the tense, interpersonal dynamics of the Modern Strings while learning the material and demonstrating her talent and professionalism. After all, she may be invited at the end of the festival to join the group and move to New York, where the real musicians live. Reenie’s future with the ensemble quickly becomes complicated when, against her better judgment, she sleeps with Cohen in a fit of impulse—losing her virginity. Interspersed with her account of that weekend are scenes from decades later, when Reenie is in the memory unit of an assisted living facility. She receives a composition left by Cohen in his will—a work that he planned to have destroyed if she died before him. Her daughter and Cohen’s niece are arranging a performance in the hopes it will jog Reenie’s failing memory—but are these recollections worth recovering?
Osborn writes with incredible polish and subtlety, toggling between Reenie’s lush, moment-to-moment accounts from the ’50s and retrospective appraisals of the era: “The festival in Newport took place at a time when classical music was at its height in America, with Leonard Bernstein’s orchestra program and large concert audiences. Just ten years later, the audiences would shrink dramatically, but now no one knew that future.” The characters—particularly Reenie but also the demanding Arthur and the ensemble’s messy violinist Charles Breedlove and aloof violist Patrick Dempsey—are deftly rendered, and the author manages to capture seemingly every shifting tension in each relationship. Osborn also succeeds in writing about music in a way that elucidates and elevates an art form that is not easily put into words, particularly the ways in which the members of the group play together. The plot moves slowly, but it quickly teaches readers to appreciate its rhythm, which—like the sea that surrounds the festival location—is somewhat tidal. The narrative is unexpectedly suspenseful, particularly once readers have a grasp of the intensity of the personalities involved. The result is a meditation on art, aspiration, jealously, and selfishness, all placed against the backdrop of gender and shifting trends in the mid-20th-century classical music scene.
A gripping, precisely composed tale about music and those who give their lives to it.Pub Date: May 31, 2020
ISBN: 978-1-60489-250-5
Page Count: 264
Publisher: Livingston Press
Review Posted Online: March 5, 2020
Kirkus Reviews Issue: April 15, 2020
Review Program: Kirkus Indie
A tender and moving portrait about the transcendent power of art and friendship.
An artwork’s value grows if you understand the stories of the people who inspired it.
Never in her wildest dreams would foster kid Louisa dream of meeting C. Jat, the famous painter of The One of the Sea, which depicts a group of young teens on a pier on a hot summer’s day. But in Backman’s latest, that’s just what happens—an unexpected (but not unbelievable) set of circumstances causes their paths to collide right before the dying 39-year-old artist’s departure from the world. One of his final acts is to bequeath that painting to Louisa, who has endured a string of violent foster homes since her mother abandoned her as a child. Selling the painting will change her life—but can she do it? Before deciding, she accompanies Ted, one of the artist’s close friends and one of the young teens captured in that celebrated painting, on a train journey to take the artist’s ashes to his hometown. She wants to know all about the painting, which launched Jat’s career at age 14, and the circle of beloved friends who inspired it. The bestselling author of A Man Called Ove (2014) and other novels, Backman gives us a heartwarming story about how these friends, set adrift by the violence and unhappiness of their homes, found each other and created a new definition of family. “You think you’re alone,” one character explains, “but there are others like you, people who stand in front of white walls and blank paper and only see magical things. One day one of them will recognize you and call out: ‘You’re one of us!’” As Ted tells stories about his friends—how Jat doubted his talents but found a champion in fiery Joar, who took on every bully to defend him; how Ali brought an excitement to their circle that was “like a blinding light, like a heart attack”—Louisa recognizes herself as a kindred soul and feels a calling to realize her own artistic gifts. What she decides to do with the painting is part of a caper worthy of the stories that Ted tells her. The novel is humorous, poignant, and always life-affirming, even when describing the bleakness of the teens’ early lives. “Art is a fragile magic, just like love,” as someone tells Louisa, “and that’s humanity’s only defense against death.”
A tender and moving portrait about the transcendent power of art and friendship.Pub Date: May 6, 2025
ISBN: 9781982112820
Page Count: 448
Publisher: Atria
Review Posted Online: July 4, 2025
Kirkus Reviews Issue: Aug. 1, 2025
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
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