Amazon.com Review
"It was our secret. That's all it was. Lots of people have secrets, don't they? The world runs on secrets. What kind of place would the world be without them? Our secret was harmless. It did not hurt anybody." The secret that Millicent Moody, widow of jazz great Joss Moody, refers to may have been harmless in life, but when Joss dies and the truth is exposed, it ends up affecting more people than she ever imagined. It gives nothing away to reveal right off that Millicent's late husband was, in fact, a woman--something Millie has known all along but that the Moodys' adopted son, Colman, only discovers after his father's death. Titillating as the subject matter initially seems, in Jackie Kay's capable hands Joss's gender-bending becomes almost a side issue in a novel that is, at its heart, concerned with the essential nature of love.
Kay tells her story from many different perspectives--the doctor who signs the death certificate, the mortician who prepares the body, the opportunistic biographer looking to make a buck and a name for herself, the musicians who knew Joss--but it is Millicent and Colman who bear the brunt of both the pain and the responsibility for telling the tale. Millie Moody is a tremendously sympathetic character; her love for Joss is so powerful, so right that the reader never questions the decisions this odd couple made in life. "I didn't feel like I was living a lie," Millie tells us. "I felt like I was living a life." Colman, on the other hand, is more difficult to like. Though it's easy to understand his anger and confusion upon suddenly learning that the man he regarded as his father for 30 years was actually a woman, one also has the sneaking suspicion that he wasn't a particularly lovable guy before the revelation, either. Still, by the end of Trumpet, there's hope for Colman, peace of mind for Millie, and a satisfying rendering of love in all its permutations for the reader. --Alix Wilber
--This text refers to an out of print or unavailable edition of this title.
From Publishers Weekly
A Scottish poet with a fresh and resonant voice makes her fiction debut with a novel about the life of a famous jazz musician, born female, who masquerades as a man. Like the real-life Billy Tipton, Scottish trumpet player Joss Moody has a wife, Millie, and a domestic life. No one except Millie knows the truth about his sex, which is revealed by the medical examiner only after his death. The issue of sexual identity is only one aspect of Kaye's intense and poetic narrative. Joss is black, and both he and his adopted son, Colman, suffer from pervasive racism in London. Kaye prismatically reflects Joss's life in vignettes from almost a dozen characters, some of them endearingly quirky, but the principal voices are those of Millie and Colman. Angry and bitter about having been deceived by his adoptive parents, Colman is a sour young man, without talent, drive or purpose, and his cooperation with a sleazy reporter who wants to write a tell-all book about Joss grants the narrative its main tension. Rather than sensational revelations, Kaye is interested in motivation and emotion, and her portrait of a distraught Millie is an incandescent study of grief. In conveying the nuances of an unconventional but passionate marriage, Kaye creates her own kind of prose music akin to the bittersweet melodies from Joss's trumpet. Once into the rhythm, however, Kaye cannot abandon its cadences: all the characters speak in the same short, lilting sentences and emphatic fragments, beautiful to the ear but not sufficiently differentiated. In the end, the mysteries of Joss's life remain ambiguous, but his courage in maintaining the sexual charade that allows him entree into the jazz world, and his legacy of love, provide the haunting motif of this richly evocative narrative. 40,000 first printing; author tour.
Copyright 1998 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
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