Good morning, Everyone,
The notion of musical themes for Senga and her literary cohorts came to me several months ago, so I’ve created a playlist on Spotify for them. Under “ren”–see Senga’s playlist. It won’t be difficult. It’s the only playlist I’ve posted. If you don’t have the app, you could look them up on itunes and play the sample. The pieces on Spotify aren’t identified as to whom they represent (in my mind), so here’s a hint: In order of play (though I think they shuffle them–)~1. for Caroline: The Main Theme to The Cider House Rules (composers below) 2. Rufus: In the Middle of This Nowhere, on Oblivion 3. Senga: Nuvole Bianche 4. The Lover (no spoilers here): The Cello’s Song off A Childhood Remembered 5. Gabe: The Mission~Gabriel’s Oboe 6. Aunt Karen: The Emigration Tunes
When I hear these, I’m immediately pitched into the story. That magnificent film theme to John Irving’s Cider House Rules also lends itself to sunrise on a North Carolina tobacco barn. See what I did there? It’s Caroline’s tune, but Papa and Grannie’s too~Music is so very amenable . . .
I’ll be curious as to your own impressions and whether you can hear/feel the characters . . . perhaps it’s too personal a notion. Let me know. Now, the Hammock was chosen when I was working on the third book. (Thank you, Johno.) You may be familiar with the piece. John sent me a link and told me he was listening to it as he was piloting his jet over water at night. Its expansive dimension fits well where I wrote it into the story, along with several others, with thanks and apologies to the composers–whom I credit).
I’m a musician; I can’t help it. Rhythm in writing is musical, and integral, I think. How we phrase and lengthen a narration can sound musical. Word choice, definitely. The affective, or emotional, in story doesn’t mind background music. If I had my druthers, I’d include a CD in the back of the novels. That’s a whole other exercise in organization. Besides, you may choose your own, or none. The gap sings between notes.
Thanks for allowing me go on about it, and I hope you’ll give a listen. Deepest bows to the composers, in order of play: Rachel Portman, Hammock, Ludovico Einaudi, Kostia and David Arkenstone, Ennio Morricone, and Loreena McKennitt. All Native American flute music reminds me of High Wolf. No surprise there. And yes, he plays the flute. The end of Book 3 evokes a piece, but I’m not ready to disclose it.
I’m working on the second novel’s formatting for release this summer. It will answer questions from the first you may have. Thank you for reading Senga and I hope you’re wintering well. All this said, I do want to recommend a memoir I just read. The Unwinding of the Miracle, by Julie Yip Williams. Absolutely stunning (thank you, Linda); the author may rearrange your thinking on life and death, the caveat.
For now, to life!