By Jane Mendelsohn
From the writer of i used to be Amelia Earhart, a luminous love tale that winds via a number of generations—told in Jane Mendelsohn’s certain captivating style.
At its middle are Milo, a seriously wounded veteran of the Iraq struggle constrained to a rehabilitation health facility, and Honor, his actual therapist, a former dancer. while Honor touches Milo’s destroyed again, mysterious photographs from the earlier seem to each one of them, confusing her and shaking him to the core.
As Milo’s therapy progresses, the photographs start to weave jointly into an elaborate, mysterious tapestry of news. There are Joe and Pearl, a husband and spouse within the Thirties whose marriage is demonstrated by way of Pearl’s bewitching inventive cousin, Vivian. there's the heartrending tale of a lady photographer within the Sixties and the surprising robbery of her life’s paintings. The picaresque lifetime of a girl who has a toddler too younger and unearths herself continuously at the movement from activity to task and guy to guy. And the tale of a guy and a lady in seventeenth-century Turkey—a eunuch and a sultan’s concubine—whose forbidden love is captured in track. The tales converge in a symphonic crescendo that finds the far-flung origins of America’s eternally romantic soul and exposes the resource of Honor and Milo’s personal love.
A attractive secret and a meditation on love—its strength and its limitations—American Music is a brilliantly unique novel.
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Additional info for American Music
The lights were low and on a desk there were cups of soda and a sandwich. Honor recognized most of the nurses by now, some of them she had come to know a little. She looked over at them while she waited for the elevator. Then one of them said, What is it? You don’t look so good. Honor came over and sat down. She took off her bag. Her long hair swung. Her coat grazed the linoleum floor. He seems like he’s getting worse, she said. They all get worse, one of them said. Then sometimes they get better.
The money is good. But I get homesick. He reached over and took Pearl’s hand. Of course, Vivian said. They were driving up Central Park West now, along the park. The trees swayed and rustled like enormous skirts. Vivian dances, Pearl said. Not really, Vivian said. Not anymore. Well you used to. Your mother told me that you were a wonderful dancer. She said you went to all kinds of places, jazz places, way uptown, the Savoy. Really? Joe said. I like that kind of music, she said quietly, still looking out the window.
I met him on the train out here. My name is Joe. He held out his hand and they shook hands. I don’t understand, she said. Solomon couldn’t come. He’s been injured. He was helping overnight with the animals and something happened. Something with a horse. He was thrown. Will he be all right? Pearl asked, finding herself deeply concerned about this man she didn’t remember. I don’t know. Pearl followed the stranger, without thinking about it, she later realized, to the emergency hospital. On the way, Joe explained that Solomon had told him at dinner the night before about the letter and the plan to meet in front of the gate, and that when Joe had heard of the accident he thought it was only decent to find her, The Wardrobe Girl, and tell her what had happened.
American Music by Jane Mendelsohn