Sheet
Music by M.J. Rose
Evil
Eye Concepts, 2014
Justine
Pagett is an unusually sensual woman. The warm, butter-and-sugar
smells of fresh baking, the smokey blackberry taste of vintage
cabernet, the breath-stealing sting of the wind on her cheeks as her
sailboat skims the waves, the teasing sensation of brandy dribbling
down across her naked breasts, Justine experiences all these
sensations with fierce, almost frightening, intensity. Justine is a
woman who orgasms standing in a doorway, listening to her lover play
his cello half a room away.
Not
only does she feel these things, she describes them with awesome
clarity. She is a keen observer of her environment and her fellow
humans, a professional journalist, a "wordsmith", as her
father calls her at the age of ten.
The
intriguingly complex protagonist of M.J. Rose's novel Sheet Music,
Justine cannot help succumbing to the lure of her senses. She hardly
tries to resist. She struggles valiantly, though, to decouple her
senses from her emotions, to distance her body from her heart. She
leaves lovers precisely at the moment when they become attached to
her. She shuns her father and sister, blaming them for her mother's
unhappiness and early death. She lives a cold, lonely, empty life in
Paris, deliberately seeking out the ambiguous comfort of purely
physical release, allowing herself true passion only in the realm of
her career.
Sensation
and emotion are intricately linked, however, and Justine cannot
escape from either grief or love. Sights and smells constantly
reanimate memories of her mother, a chef who initiated Justine into
the sweet mysteries of the palate when Justine was still a child. And
when a writing assignment brings her back into the life of
cellist-composer Austen Bell, she rediscovers an irresistible
emotional connection that goes far beyond their incandescent physical
couplings.
Justine
is a woman living a lie, or trying to, desperate to sever any
emotional attachments for fear that she will fall prey to the
weakness she saw in her mother: loving too much. She uses words as a
weapon to push away the emotions clamoring for her attention, having
discovered as a child that "the process of thinking about what
word described my feeling took my mind off the feeling." For
the three years since her mother's death from cancer, she has managed
to maintain a facade of detachment, brutally suppressing the grief
that periodically overwhelms her. As she begins research for a
biography of the celebrated composer and conductor Sophie de Lyon,
though, her mask begins to disintegrate.
Returning
to New York from her self-sought exile in Paris, she is forced to
deal with her family, living and dead. Meanwhile, she receives
ominous threats warning her against writing about Sophie, and the
presence of Austen Bell (Sophie's student and ex-son-in-law) wakens a
yearning in her that she cannot ignore. Grief, anger, love and fear
roil beneath her polished surface, finally reaching a crisis when
Sophie mysteriously disappears.
The
character of Sophie mirrors and illumines Justine's nature. Like
Justine, Sophie is exquisitely sensual and voraciously sexual. The
mansion she has made into her music academy, Euphonia, is a fantasy
castle perched at the ocean's edge, the walls encrusted with
seashells, the gardens a riot of color and scent, every detail
personally chosen by its mistress. Sophie is beloved and notorious, a
force of nature as much as a woman. Justine senses that there are
secrets lurking behind Sophie's public personna. As she investigates,
she is drawn into a maze of seduction, deception and danger where her
defenses gradually erode.
Sophie
never actually appears in the story. We understand her only through
the effects she has had on other people, through her work, and
through the stories others tell of her. As Justine sifts the truth
from the lies, she opens herself for the first time to her own truth
and the truth about her mother, who has become, in Justine's memory,
as much a mythical figure as Sophie.
Sheet
Music is compelling psychological study, a family drama, a
thriller. It does not belong to the conventional genre of erotica,
but Ms. Rose conveys Justine's sexual intensity as vividly as she
portrays her heroine's stunningly painful grief. She shares Justine's
dreams and fantasies, dreams of her body being played like a cello by
an unseen man, fantasies replaying what might have happened as she
and Austen sat together in his car, when he didn't touch her, but he
might have... Justine wants to believe that physical desire is all
that matters, but she can't, quite:
"I've
always thought of kisses as being of the night, of the darkness. But
I glimpse colors and light moving in time to music when his lips are
on me. The colors move inside me, relieving me of gravity. I might
lift off in this light."
Then
in the next breath:
"I
pull back, break the connection. I've made a mistake and have to undo
it."
Sheet
Music uses food as shorthand for emotional and physical
intensity. In the very first paragraph, Justine says of a lover, a
famous chef who creates fabulously sensual "postcoital feasts":
"He
knows I am always hungry. He doesn't know that, no matter what I eat,
I am never full."
The
book offers a feast of many flavors: the bitterness of regret, the
saltiness of desire, the sweetness of love, the sour taste of
desperation. Justine uses the vocabulary of the senses to convey the
nuances of the heart.
There's
a whiff of tragedy in Sheet Music. Justine comes perilously
close to losing her self, losing a chance for fulfillment,
reconciliation, forgiveness. Her fatal flaw? Blindness, perhaps, or
arrogance (knowing she is clever enough to manipulate people, she
does not hesitate to do so). Reading Sheet Music, seeing the world
through her eyes, I wanted to shake her, to remind her that her acute
senses and emotional intensity were a gift, not a burden. Ultimately,
though, my sympathy for her overwhelmed my annoyance. She suffers,
and finally experiences some kind of redemption. A reader can hardly
ask for more.
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