Rough Music

( 5 )

Overview

Beautifully written and deeply compassionate, Rough Music is a novel of one family at two defining points in time. Seamlessly alternating between the present day and a summer thirty years past, its twin stories unfold at a cottage along the eastern coast of England.

Will Pagett receives an unexpected gift on his fortieth birthday, two weeks at a perfect beach house in Cornwall. Seeking some distance from the married man with whom he's having an affair, he invites his aging ...

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Rough Music

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Overview

Beautifully written and deeply compassionate, Rough Music is a novel of one family at two defining points in time. Seamlessly alternating between the present day and a summer thirty years past, its twin stories unfold at a cottage along the eastern coast of England.

Will Pagett receives an unexpected gift on his fortieth birthday, two weeks at a perfect beach house in Cornwall. Seeking some distance from the married man with whom he's having an affair, he invites his aging mother and father to share his holiday, knowing the sun and sea will be a welcome change for. But the cottage and the stretch of sand before it seem somehow familiar and memories of a summer long ago begin to surface.

Thirty-two years earlier. A young married couple and their eight year-old son begin two idyllic weeks at a beach house in Cornwall. But the sudden arrival of unknown American relatives has devastating consequences, turning what was to be a moment of reconciliation into an act of betrayal that will cast a lengthy shadow.

As Patrick Gale masterfully unspools these parallel stories, we see their subtle and surprising reflections in each other and discover how the forgotten dramas of childhood are reenacted throughout our lives.

Deftly navigating the terrain between humor and tragedy, Patrick Gale has written an unforgettable novel about the lies that adults tell and the small acts of treason that children can commit. Rough Music gracefully illuminates the merciful tricks of memory and the courage with which we continue to assert our belief in love and happiness.

From the Hardcover edition.

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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Gale (Tree Surgery for Beginners) is an English novelist with a particular gift for family dynamics. Cleverly structured and sophisticated in its treatment of time, his latest novel is an alternately sweet, touching and somber tale of a mildly dysfunctional English family. The book alternates between accounts of two family holidays spent in the same seaside cottage in Cornwall 30 years apart. The sturdy, reliable father, John Pagett, is "governor" (warden) of a British prison, which supplies young Julian with considerable offbeat excitement, particularly when a noted prisoner escapes. Frances, Julian's mother, is a repressed musician who seems to have merely settled for John and domesticity. Thirty years later, John is still much as he was; Julian has become Will and is unhappily gay, carrying on a doomed affair with brother-in-law Sandy; Frances is showing signs of incipient Alzheimer's. As the scenes alternate, Gale slyly enlarges his canvas, embroiling the younger Frances in a brief affair with her brother-in-law. The domestic details and undercurrents of an English seaside holiday in the vastly differing social climates of the 1950s and '80s are stunningly caught, and the dialogue, whether parent-placid or suddenly gay-quarrelsome, is spot on. The conclusion, for both Will and his parents, brings a deserved glow of quiet reconciliation. The only thing that may slightly mar this highly intelligent and beautifully crafted novel for American readers is its very British emotional reticence, even if that does allow for myriad shades of delicate feeling. (May) Forecast: Ballantine is making a big push for this book, with encomiums from many of its key salespeople, and it will be interesting to see if the independent booksellers, at whom these are obviously aimed, will respond to the book similarly. If they do, it should become a strong hand-selling prospect. Copyright 2001 Cahners Business Information.
Kirkus Reviews
In his richly rewarding ninth novel, British author Gale (Tree Surgery for Beginners, 1994, etc.) leaves behind the comedy on which he's built a reputation to explore how secrets, betrayals, and missed connections come close to tearing a family apart. From the powerful opening image of a woman feeling the ocean suck the sand from beneath her feet, Gale intertwines two plots concerning the same family and taking place in the same beach cottage 30-odd years apart. In the 1960s, eight-year-old Julian Pagett and his gently inhibited parents go to Cornwall for a vacation that begins with great promise but spirals out of control with the arrival from America of the boy's uncle and cousin. In the contemporary story, Julian has evolved into Will, a 40-year-old bookstore owner having an affair with his sister's husband. For his birthday, Will's unsuspecting sister gives him a vacation in Cornwall. Will brings along his parents, stoic John and gutsy Frances, who is slowly succumbing to Alzheimer's. Frances is a remarkable creation full of emotional nooks and crannies, whether as a young, rather proper British matron discovering her sexuality, or as a grandmother who sees the world she inhabits with cruel clarity despite her failing memory. John too is drawn with nuanced delicacy, particularly his inability to express the intense love he feels for Frances with the abandon they both crave. Will's story is less compelling, his romance with a mysterious stranger predictable and too neatly settled. But, overall, Gale uses detail—a lunch of fish and chips on a pier, a moment of intimacy seen by mistake through a half-open door—to build a palpable sense of regret and emotional urgency. Histreatment of issues like Alzheimer's and gay love rises above the trendy and politically correct; his characters are so imperfect they are impossible not to love. If Oprah takes British writers, this is a shoo-in.
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Product Details

  • ISBN-13: 9780345442376
  • Publisher: Random House Publishing Group
  • Publication date: 6/25/2002
  • Edition description: Reprint
  • Pages: 384
  • Product dimensions: 5.50 (w) x 8.25 (h) x 0.75 (d)

Meet the Author

Patrick Gale was born in 1962 on the Isle of Wight. He is the author of nine novels, including Tree Surgery for Beginners, The Facts of Life, Little Bits of Baby, and Kansas in August, and a collection of stories, Dangerous Pleasures. He lives in north Cornwall, England.

From the Hardcover edition.

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Read an Excerpt

She walked across the sand carrying a shoe in either hand, drawn forward as much by the great blue moon up ahead as by the sound of the breaking waves. The moon had a ring around it which promised or threatened something, she forgot what exactly.

The chill of the foam shocked her skin. She stood still and felt the delicious tug beneath her soles as the water sucked sand out from under them. The water was as cold as death.

If I stood here long enough, she thought, just stood, the sea would draw out more and more sand from under me and bring more and more back in. Little by little I’d sink, ankles already, knees soon, then waist, then belly.

She imagined standing up to her tingling breasts in sucking, salty sand. When the first, disarmingly little wave struck her in the face, would she panic? Would she, instead, laugh, as they said, inappropriately?

She dared herself not to move.

The moon was nearly full. She could see the headland on the far side of the estuary mouth and its stumpy, striped lighthouse. She could see the foam flung and drawn, flung and drawn about her. He was striding across the little beach behind her; she could tell without turning. Would his hands touch her first or would she merely feel the jacket he draped about her? Would he call out from yards away or would she hear his voice soft and sudden when his lips were only inches from her neck?

Her resolution not to turn stiffened her spine. Watching weeds and foam rush away from her for long enough made it feel as though the sea and beach were motionless and it was only she who was gliding back and forth on mysterious salty tracks.

I love you. She felt the words well up. I love you more than words can say. Which was true, of course, because when she felt his steadying hands about her shoulders at last and the brush of his lips on her neck, all that came from her mouth was, “I turn you. Turn my words away?”

BLUE HOUSE

“Actually I feel a bit of a fraud being here,” Will told her. “I’m basically a happy man. No. There’s no basically about it. I’m happy. I am a happy man.”

“Good,” she said, crossing her legs and caressing an ankle as if to smooth out a crease she found there. “What makes you say that?”

“That I’m happy?”

She nodded.

“Well.” He uncrossed his legs, sat back in the sofa and peered out of her study window. He saw the waters of the Bross glittering at the edge of Boniface Gardens, two walkers pausing, briefly allied by the gamboling of their dogs. “I imagine you usually see people at their wit’s end. People with depression or insoluble problems.”

“Occasionally. Some people come to me merely because they’ve lost their way.”

He detected a certain sacerdotal smugness in her tone and suspected he hated her. “Well I’m here because a friend bought me a handful of sessions for my birthday. She thinks I need them.”

“Do you mind?”

He shrugged, laughed. “Makes a change from socks and book tokens.”

“But you don’t feel you need to be here.”

“I . . . I know it sounds arrogant but no, I don’t. Not especially. It’s just that it would have been rude not to come, even though she’ll be far too discreet to ask how I get on with you. If I didn’t come, I’d be rejecting her present and I’d hate to do that. I love her.”

“Her being?”

“Harriet. My best friend. She’s like a second sister but I think of her as a friend first and family second.”

“You have more loyalty to friends than family?”

“I didn’t say that. But you know how it is; people move on from family and choose new allies. It’s part of becoming an adult. I feel I’m moving on too. A little late in the day, I suppose.”

“Your best friend’s a woman.”

“Is that unusual?” She said nothing, waiting for him to speak. “I suppose it is,” he went on. “I’m just not a bloke’s bloke. I never have been. I find women more congenial, more evolved. I mean I’m perfectly happy being a man, but I find I have more in common with women.”

“Such as?”

He did hate her. He hated her royally. “The things we laugh at. The things we do with our free time. And, okay, I suppose you’ll want to talk about this—”

“I don’t want to talk about anything you don’t want to talk about.”

“Whatever. We also share sexual interests. I mean we like the same thing.”

“You’re homosexual?”

“I’m gay.” He smiled, determined to charm her, but she was impervious and vouchsafed no more than a wintry smile. “I told you. I’m a happy man.”

“Your sexuality isn’t a problem for you.”

“It never has been. It’s a constant source of delight. Not a day goes by when I don’t thank God. If anything I’m relieved. Especially now my friends are all having children.”

“You never wanted children.”

“Of course. Sometimes. Hats jokes that if she dies I can have hers. But no. The impulse came and went. There are more than enough children in the world and I’m not so obsessed with seeing myself reproduced. Besides, one of my nephews is the spitting image of me, which has taken care of that. I love my own company. I don’t think I’m selfish exactly but I’m self-sufficient.”

“What about settling down? You’re, what, thirty-five?”

“Thank you for that. I turned forty earlier this year. I have settled down. I have a satisfying job, a nice flat. I just happen to have settled down alone.”

“And watching all those girlfriends settled with their partners doesn’t make you want a significant other.”

“Oh. I have one of those. Sort of, I suppose. He’s really why I’m here. I made a promise to him. It was a joke really, but I told Harriet and—”

“Tell me about him.”

He paused. Glanced out at the view again. “Sorry,” he said. “It’s private.”

“Whatever you tell me—”

“—is in strictest confidence. Yes. I know. But we’ve barely met, you’re still a stranger to me and I’d rather not talk about him just now. It’s not a painful situation. He’s a lovely man. He makes me happy. But I didn’t come here to talk about him.”

A slight, attentive raising of her eyebrows asked, So what did you come to talk about?

“Shouldn’t we start with my childhood?” he said. “Isn’t that the usual thing?”

“If you like.”

“I warn you. I wasn’t abused. I wasn’t neglected. I love my parents and I loved my childhood. It was very, very happy.”

“Tell me about it.”

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Foreword

1. How do the three quotations at the beginning of the novel relate
to your understanding of the book's themes and characters?

2. The novel's alternating chapters underscore the contrast between
children's and adults' perspectives on the world. In what other
ways does the novel suggest that children and adults often have
very different realities?

3. Most of Rough Music is set on and around the beach in Cornwall.
How does the beach—the ocean itself, the shoreline, the sand—
function in the novel?

4. Memory is at the heart of this novel, both in terms of the Pagetts'
recollections of their summer at Beachcomber and Frances's Alzheimer's.
Do you see any connections between these two kinds of
remembering? What kind of personal issues seem to be at stake in
the suppression and failure of memory?

5. What role do nostalgia and homesickness play in the novel?

6. Prisons and various kinds of imprisonment are recurring themes
in Rough Music. Which characters are most concerned with rules
and boundaries? How do family and marriage seem to confine
certain characters?

7. In what ways does language have a capacity to incriminate the
novel's characters? In what ways does it help to liberate them?

8. When Julian frees Lady Percy on the beach, he says, "Go . . .
Quick. Before they can catch you again." What exactly is he trying
to accomplish by releasing his pet? How does this event reflect
his changing sense of the world?

9. How would you describe the betrayals—both intentional and
otherwise—that occur in Rough Music? Do you think thenovel
suggests that at least some of these betrayals are inevitable?

10. Skip and Julian's new names represent an attempt to begin new
lives—a reflection of Frances's hopeful "Clean slates all round?"
What do you make of this concept and of the particular name
changes?

11. Julian's enrolment into the Barrowcester Choir School is somewhat
mysterious. What do you imagine is behind this dramatic
development? How does Julian's time at the school seem to
shape him?

12. The book plays games with gender roles and with perceived norms
of masculinity and femininity. How do Julian's ideas about his own
sexuality and maleness develop against this background?

13. How would you characterize our expectations for the novel's female
characters? How do they differ from our expectations for
the male characters?

14. What does "Rough Music," the sculpture, signal or represent for
the novel's characters and for us as readers? Do you think the ti-tle
has another significance?

15. How do you feel about the novel's ending? If you were going to
write an afterword, what would it contain?

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Reading Group Guide

1. How do the three quotations at the beginning of the novel relate to your understanding of the book's themes and characters?

2. The novel's alternating chapters underscore the contrast between children's and adults' perspectives on the world. In what other ways does the novel suggest that children and adults often have very different realities?

3. Most of Rough Music is set on and around the beach in Cornwall.
How does the beach--the ocean itself, the shoreline, the sand--
function in the novel?

4. Memory is at the heart of this novel, both in terms of the Pagetts'
recollections of their summer at Beachcomber and Frances's Alzheimer's.
Do you see any connections between these two kinds of remembering? What kind of personal issues seem to be at stake in the suppression and failure of memory?

5. What role do nostalgia and homesickness play in the novel?

6. Prisons and various kinds of imprisonment are recurring themes in Rough Music. Which characters are most concerned with rules and boundaries? How do family and marriage seem to confine certain characters?

7. In what ways does language have a capacity to incriminate the novel's characters? In what ways does it help to liberate them?

8. When Julian frees Lady Percy on the beach, he says, "Go . . .
Quick. Before they can catch you again." What exactly is he trying to accomplish by releasing his pet? How does this event reflect his changing sense of the world?

9. How would you describe the betrayals--both intentional and otherwise--that occur in Rough Music? Do you think the novel suggests that at least some of these betrayals are inevitable?

10. Skip and Julian's new names represent an attempt to begin new lives--a reflection of Frances's hopeful "Clean slates all round?"
What do you make of this concept and of the particular name changes?

11. Julian's enrolment into the Barrowcester Choir School is somewhat mysterious. What do you imagine is behind this dramatic development? How does Julian's time at the school seem to shape him?

12. The book plays games with gender roles and with perceived norms of masculinity and femininity. How do Julian's ideas about his own sexuality and maleness develop against this background?

13. How would you characterize our expectations for the novel's female characters? How do they differ from our expectations for the male characters?

14. What does "Rough Music," the sculpture, signal or represent for the novel's characters and for us as readers? Do you think the ti-tle has another significance?

15. How do you feel about the novel's ending? If you were going to write an afterword, what would it contain?

Read More Show Less

Customer Reviews

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( 5 )
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Sort by: Showing all of 5 Customer Reviews
  • Anonymous

    Posted August 21, 2002

    I couldn't leave this one for very long.

    The characters are so believable, their problems so enticing one wants to reach out and offer them a listening ear and a shoulder to lean on.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted January 23, 2002

    You will not be able to put it down.

    Partrick Gale has woven a wonderful tale of family and the turmoil that can result from the need for love and acceptance. I could not put this book down.

    Was this review helpful? Yes  No   Report this review
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    Posted February 18, 2011

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    Posted July 13, 2010

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    Posted February 21, 2010

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