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The Time of Our Singing: A Novel Paperback – January 1, 2004
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In some respects, Richard Powers's The Time of Our Singing is just a big, absorbing drama about an American family, with the typical ingredients of an immigrant parent and some social obstacles--in this case, a biracial marriage in the Civil Rights era--to be overcome by the talented children. But Powers's lyrical gifts lift this material far above its familiar subject matter. His descriptions of music alone will transport the reader. The Strom family were raised with this common language: "Our parents' Crazed Quotations game played on the notion that every moment's tune had all history's music box for its counterpoint. On any evening in Hamilton Heights, we could jump from organum to atonality without any hint of all the centuries that had died fiery deaths between them." The central figure of this novel is the dazzling Jonah, who makes a life from singing, and who may be the only person around him who regards his racial heritage as irrelevant to his ambitions. Powers's is such a fertile writer, however, that he can't stay with any single story, but plunges into pages and pages of family and social histories. The result is a rambling, resonant, fearless novel that pulls the reader along in its wake. --Regina Marler --This text refers to an out of print or unavailable edition of this title.
From Publishers Weekly
Powers (Plowing the Dark, etc.) has generated considerable excitement as a novelist of ideas, but as a creator of characters, he is on shakier ground. Here he confronts his weaknesses head-on, crafting a hefty family saga that attempts to probe generational conflicts, sibling rivalries and racial identity. The book follows the mixed-race Strom family through much of the 20th century, from 1939 when German-Jewish physicist David Strom meets Delia Daley, a black, classically trained singer from Philadelphia through the 1990s. The couple marries and has three children: eldest son Jonah, a charismatic, egotistical singing prodigy; Joseph, his self-sacrificing accompanist; and Ruth, the rebel of the family, who becomes a militant black activist. There are two separate strands to the story: one is a third-person chronicle of David and Delia's relationship through the 1940s; the other, narrated by Joseph, is about the brothers' education in the nearly all-white world of classical music and their experience of the civil rights movement as the rest of the country grudgingly catches up to the Stroms' radical experiment. Powers's premise is intriguing, and the plot's architecture is impressive, informed by the notion, from physics, of space-time wrinkles and time curves. Missing, however, are the pulse-quickening vintage-Powers moments in which his discussions of technology and science open up profound existential quandaries. Most of the book is taken up with a prolonged, overdetermined and off-key examination of family relationships and identity struggles. Narrator Joseph is supposed to be eclipsed by his brother, but Powers overshoots the mark: for half the book, Joseph is little more than a pair of eyes and ears. Powers's depiction of how public events filter into individual consciousness can also be surprisingly unimaginative; Joseph periodically runs down a list of current events, using stale, iconic imagery ("our hatless boy president plays touch football on the White House lawn"). Powers deserves credit for taking a risk, but his own experiment reveals his startling tone deafness to the subtle inflections of human experience.
Copyright 2002 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
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Top customer reviews
What Powers is trying to achieve is both awesome and overwhelming; while both music and time (in its scientific and everyday senses) are central to the plot, his aim (as in all of his fiction) is to show how everything is inter-connected. True, the novel strains with the effort of incorporating most aspects of the civil rights movement of the past 70 years: the Detroit riots, the Black Panthers, the Rodney King beating, the various marches--at least one family member manages to be eyewitness or participant in each historical moment. But, ultimately, events separated by quarter centuries are powerfully brought together: David and Delia meet over a lost boy on the Washington Mall at Marian Anderson's 1939 concert; David, with his daughter at the 1963 March on Washington, points out Anderson, now "an old woman, no voice left, years past her prime"; Joseph accompanies Ruth's two sons to the 1995 Million Man March, where the youngest of the three is momentarily lost. The beauty is how Powers warps time to bring together three events separated by decades, yet sharing a place.
While reading the novel, I was constantly reminded of James Baldwin's "Just Above My Head," which (by coincidence) I had just finished weeks previously. The surface similarities are quite astonishing: both feature musical prodigies who become internationally famous, who flee to Europe to advance their careers, and whose (tragic, lonely) deaths are revealed at the outset; both are narrated by the brothers of the singer-heroes; both feature families raised in Harlem, whose lives weave in and out of the turmoil of the 1950s and 1960s; both feature narratives that skip back and forth across the decades. Powers is able, however, to appropriate Baldwin's great, late work and make it all his own: while Baldwin's realism creates a novel of characters, Powers's formalism produces a novel of ideas. They resemble two movements of the same extraordinary symphony.
Most recent customer reviews
I wanted to underline every passage, every sentence.