The Time of Our Singing

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Overview

On Easter day, 1939, at Marian Anderson’s epochal concert on the Washington Mall, David Strom, a German Jewish émigré scientist, meets Delia Daley, a young Philadelphia Negro studying to be a singer. Their mutual love of music draws them together, and—against all odds and better judgment—they marry. They vow to raise their children beyond time, beyond identity, steeped only in song. Jonah, Joseph, and Ruth grow up, however, during the Civil Rights era, coming of age in the violent 1960s, and living out adulthood ...

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Overview

On Easter day, 1939, at Marian Anderson’s epochal concert on the Washington Mall, David Strom, a German Jewish émigré scientist, meets Delia Daley, a young Philadelphia Negro studying to be a singer. Their mutual love of music draws them together, and—against all odds and better judgment—they marry. They vow to raise their children beyond time, beyond identity, steeped only in song. Jonah, Joseph, and Ruth grow up, however, during the Civil Rights era, coming of age in the violent 1960s, and living out adulthood in the racially retrenched late century. Jonah, the eldest, “whose voice could make heads of state repent,” follows a life in his parents’ beloved classical music. Ruth, the youngest, devotes herself to community activism and repudiates the white culture her brother represents. Joseph, the middle child and the narrator of this generation-bridging tale, struggles to find himself and remain connected to them both.

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Editorial Reviews

From the Publisher
"A great hurtle of a book, telling several powerful stories at once...An astonishing performance. . . a prodigious, illuminating and exhilarating run." —The New York Times

"Ingenious...A heady, panoramic novel, scored, like so much of Powers's work, for full orchestra. . .One of our most lavishly gifted writers." —The New Yorker

"One of the best novels ever written about race in America...one of the best written about the joys of music. . .A major novel, harrowing and haunting in blending such intense beauty and such great sorrow into one great, unforgettable American symphony." —Newsday

"A bold and vibrant set of variations on the themes of music, race and time. . . It is hard to think of another novel since Thomas Mann's Doctor Faustus that uses music so effectively and with such authority." —Chicago Tribune

"The Time of Our Singing is an astonishment but not a surprise...Richard Powers has been astounding us almost every other year since 1985...We can no longer be surprised about whatever he dares to think in ink about." —Harper's Magazine

"With his characteristic mastery of structure and language, Powers has orchestrated a story that. . .plays with bravura to the end." —People

"This is a novel God might relish and call enriching. Powers' heart-cry should win big prizes." —The Philadelphia Inquirer

"Richard Powers is a wonder. . .[The Time of Our Singing] is beautifully, meticulously crafted." —The New York Observer

Sven Birkerts
Powers is a genuine artist, a thinker of rare synthetic gifts, maybe the only writer working . . .
Esquire
Sven Birkerts
Powers is a genuine artist, a thinker of rare synthetic gifts, maybe the only writer working . . .
Esquire
Tom LeClair
Richard Powers is known for exploring complicated scientific ideas, such as chaos theory, in his fiction and for employing multiple narrative forms. The author's eighth novel takes a different kind of thematic risk. Like Philip Roth's The Human Stain, The Time of Our Singing is a book by a white writer that features African-American characters as its protagonists. The gamble has paid off: This is Powers' most emotionally engaging, stylistically accessible and culturally aware novel, a family album stuffed with memories and clippings that are not always chronologically arranged.

This multigenerational story of a biracial family begins with the 1940 marriage of Delia Daley, an African-American amateur singer from Philadelphia, and David Strom, a Jewish-German music-loving physicist teaching at Columbia University. Interracial marriage, Powers reminds us, was still against the law in many American states at midcentury. Delia and David find some shelter in New York City and have three children, all musical prodigies. The almost white Jonah and the very light Joseph go to a private music school in Boston, leaving Ruth, the darkest of the siblings, to witness her mother's death by fire when Ruth is ten and the boys fourteen and thirteen. After Delia's death, the family splinters: David retreats into his quantum physics; the boys become professional musicians and live on the road; Ruth is left largely alone to discover the meaning of her race.

Unlike Ruth, who eventually joins the Black Panther Party, the male Stroms mostly try to avoid the subject of race. Jonah attempts to transcend color by moving to Europe and singing medieval music, written before slavery came to America. Joseph, his faithful brother and pianist, is split between the values and cultural interests of his light-skinned brother and his dark-skinned sister. Ruth, meanwhile, marries a fellow Panther, with whom she has two sons. When Jonah is around, the conflicted Joseph plays classical European music; for patrons of an Atlantic City club, he plays the music from his African-American heritage that would most please Ruth.

In The Time of Our Singing, Powers dramatizes with graceful authority the complexities of an interracial family in the 1950s and the consequences for the family in the 1990s. Delia's arguments with her physician father over her Jewish husband are rich with psychological nuance and cross-cultural subtlety. Ruth's arguments with her teenage son, Kwame, over his future in "gangsta" Oakland provocatively recast Delia's issues of racial identity and personal freedom as Powers stretches the scope of his novel across five tumultuous decades in which the Strom family learns to be functional.

Powers' reputation as a novelistic prodigy stems partly from his talent for structural ingenuity. His novel The Gold Bug Variations, for example, conformed to the pattern of Bach's Goldberg Variations. The Time of Our Singing is more relaxed in its composition, more like jazz. Powers elicits curiosity about and affection for the Strom children and occasionally substitutes their development for plot. For readers who didn't live through the civil rights movement of the 1960s, Powers provides helpful background. And he brings his characters to three vividly rendered mass gatherings in Washington: a 1939 Marian Anderson concert, where Delia and David meet; Martin Luther King Jr.'s 1963 "I Have a Dream" speech, which Ruth and David attend; and the 1995 Million Man March, which Joseph and Ruth's sons attend.

The Time of Our Singing continues Powers' recent turn toward political subjects. His 1998 novel Gain critiqued capitalist enterprise, and 2000's Plowing the Dark was about the military's use during the Gulf War of virtual reality research for smart bombing. While this new novel may appear to be a politically correct attack on white culture—the white European scientist David and his son, the pale Eurocentric artist Jonah, do the most damage to their kin by shirking family responsibilities—the black characters, including Delia's father, the proud patriarch Dr. Daley, and the activist Ruth also share blame for their family's division.

In the final line of the classic novel Invisible Man, Ralph Ellison's black narrator appears to address white readers: "who knows but that, on the lower frequencies, I speak for you." Powers seems to be replying to and updating Ellison's words in a scene in the latter part of the novel that finds Ruth contemplating a question, ostensibly about music, posed by her son: "Not beyond color; into it," she thinks. "Not or; and. And new ands all the time. Continuous new frequencies." The Time of Our Singing is not about black or white voices. With its color spectrum of characters, the novel speaks for a new culture of people who continuously break down these racial binaries. Coupled with Powers' accessible prose, their story is likely to speak to us all.
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. (Jan. 22, 2003) Copyright 2002 Cahners Business Information.
Library Journal
Delia Daley met David Strom on Easter Sunday in Washington, DC, in 1939 at a concert by Marion Anderson held outside the Lincoln Memorial after the DAR refused to let her perform indoors. And so the talented black woman from Philadelphia and the German Jewish refugee physicist and teacher from Columbia University fall in love and create a universe that parallels the history of time, music, and civil rights. Powers (Plowing the Dark) moves between present and past, with sections of the novel, not really chapters, alternating between the third person and a first-person account narrated by the Stroms' middle child and younger son, Joseph. While Delia is refused a prestigious musical education because of her race, Einstein himself suggests that the couple's elder son, Jonah, take singing lessons to further his obvious talent. Meanwhile, daughter Ruth questions her mixed heritage, and her actions mirror the growth of black militancy throughout the country as civil rights takes hold. The title of this book pervades each page, with the structure of time and the discipline of singing woven throughout. The language is dense, often difficult; this reviewer, who takes singing lessons, found the descriptions of technique mesmerizing but elusive. Did I mention physics? Powers's work is undoubtedly complex, but his stories are compelling, lyrical, and timeless. Readers who invest the time in this lengthy novel will be rewarded. Recommended for all literary fiction collections. [Previewed in Prepub Alert, LJ 9/15/02.]-Bette-Lee Fox, "Library Journal" Copyright 2002 Cahners Business Information.
Kirkus Reviews
The power of music in its relation to a racially divided family and culture is dramatized with unprecedented brilliance in this panoramic novel: the eighth from the protean author of, most recently, Plowing the Dark (2000). The major characters are the New York City Strom family: father David, a German Jewish refugee and professor of physics at Columbia University; his black wife Delia, a gifted singer denied opportunities to develop her talent; and their three "mixed" children: Jonah (who inherits his mother's glorious voice), his brother and partner Joseph, and their younger sister Ruth. Powers's thickly detailed narrative ranges back and forth in time-to 1939, when Delia and David first meet, and the succeeding years; then throughout the Strom children's lives as Joseph, remembering it all long afterward, recounts for us Jonah's triumphant singing career, his own journeyman's life in music, and Ruth's angry absorption into black militancy. The Stroms' experiences are counterpointed-rather too pointedly-against such watershed events as a famous Marian Anderson concert performed in 1939 at the Lincoln Memorial, the Emmett Till murder case, the Civil Rights struggles of the 1960s, and the Rodney King beating and subsequent Los Angeles riots. Powers's impassioned criticisms of racism are often jarringly strident (white musicians' liberalism, for example, is labeled "that plea bargain that high culture employs to get all charges against it dropped"). But such awkwardness is subsumed in this rich novel's verbal agility, depth of characterization, historical and social range, and propulsive readability. And, as a grace note of sorts, Powers demonstrates that he knows as much about musicaltechnique, theory, and history as he seems to know about almost everything else. The most accessible, and powerful fiction yet from a major American writer who, against all odds, just keeps getting better.
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Product Details

  • ISBN-13: 9780312422189
  • Publisher: Picador
  • Publication date: 12/28/2003
  • Edition description: First Edition
  • Edition number: 1
  • Pages: 640
  • Sales rank: 321,258
  • Product dimensions: 5.40 (w) x 8.10 (h) x 1.30 (d)

Meet the Author

Richard Powers

Richard Powers has been the recipient of a Lannan Literary Award and a MacArthur Fellowship. He is the author of eight novels, including Plowing the Dark, Gain, and Galatea 2.2. He lives in Illinois.

Biography

It isn't easy to characterize Richard Powers in a single sentence. The MacArthur grant recipient and award-winning novelist suffers from what Powers himself, in a Salon interview, called "a restlessness of theme"—his books feature everything from molecular genetics and neural networks to soap manufacturers and singers. What they have in common is something Powers refers to as "the aerial view": a perspective that sees humankind as one small element in a complex universe.

As a child in Chicago's northern suburbs, and later as a teenager in Thailand, Powers had no thoughts of becoming a writer. He believed he was destined to be a scientist and explored paleontology, archaeology, and oceanography before he finally enrolled as a physics major at the University of Illinois. But an honors literature seminar helped inspire him to change fields, and he ended up earning his M.A. in English. Powers then moved to Boston, where he found work as a technical writer and computer programmer. He embarked on an omnivorous, self-directed reading program and spent his Saturdays at the Museum of Fine Arts, where he came across a photograph titled "Young Westerwald Farmers on Their Way to a Dance, 1914."

"The words [of the title] went right up my spine," he later told an interviewer for Cultural Logic. "I knew instantly not only that they were on their way to a different dance than they thought they were, but that I was on the way to a dance that I hadn't anticipated until then. All of my previous year's random reading just consolidated and converged on this one moment, this image, which seemed to me to be the birth photograph of the twentieth century."

The photograph also engendered Powers's career as a novelist. His first book, Three Farmers on Their Way to a Dance, was followed by Prisoner's Dilemma and The Gold Bug Variations, which was chosen as a New York Times Notable Book and as Time magazine's Book of the Year for 1991. Gerald Howard, writing in The Nation, called Powers "one of the few younger American writers who can stake a claim to the legacy of Pynchon, Gaddis, and DeLillo." The Gold Bug Variations, which includes the story of a Bach-obsessed scientist who abandons his quest to crack the genetic code, established Powers as a writer who could articulate questions about science and technology—which emerge again in novels like Galatea 2.2, about a writer trying to teach literature to an artificial-intelligence program named Helen, and Plowing the Dark, which explores virtual reality and the human imagination as different means (or possibly the same means) of escaping the physical limitations of life.

Powers's works are packed with puns, parallels, and allusions; as Daniel Mendelsohn noted in The New York Times Book Review, each novel is "a kind of literary installation in which art objects, theoretical musings, plots and subplots, disquisitions on intellectual and literary history, histories of countries and corporations" illuminate an underlying theme. For some critics, Powers's brand of literary gamesmanship can be too much of a good thing: "He is quite capable of fluent sequential narrative, and readers will be relieved when he lapses into it after all the self-conscious brilliance and endlessly impressive allusion," noted a Publishers Weekly review of Operation Wandering Soul. But for his fans, part of the pleasure of a Powers novel comes from its dazzling and unexpected fusions of intellect and imagination. "It's instruct and delight, right?" Powers asked in the Salon interview. "You gotta give both."

Good To Know

Powers holds the Swanlund Chair in English at the University of Illinois, where he has taught classes in multimedia authoring and the mechanics of narrative.

On the Internet, he has been the subject of several hypertext essays, along with a hypertext vignette titled "Richard Powers Eats Peanut Butter Sandwich."

Several of Powers's novels have been finalists for the National Book Critics Circle Award, including Three Farmers on Their Way to a Dance, The Gold Bug Variations, and Galatea 2.2. Operation Wandering Soul was a National Book Award finalist.

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    1. Hometown:
      Urbana, Illinois
    1. Date of Birth:
      June 18, 1957
    2. Place of Birth:
      Evanston, Illinois
    1. Education:
      M.A., University of Illinois, 1979

Read an Excerpt

THE TIME OF OUR SINGING


By RICHARD POWERS

FARRAR, STRAUS AND GIROUX


Copyright © 2003
Richard Powers
All right reserved.

ISBN: 0374277826


Chapter One


DECEMBER 1961

In some empty hall, my brother is still singing. His voice hasn't dampened yet. Not altogether. The rooms where he sang still hold an impression, their walls dimpled with his sound, awaiting some future phonograph capable of replaying them.

My brother Jonah stands fixed, leaning against a piano. He's just twenty. The sixties have only begun. The country still dozes in its last pretended innocence. No one has heard of Jonah Strom but our family, what's left of it. We've come to Durham, North Carolina, the old music building at Duke. He has made it to the finals of a national vocal competition he'll later deny ever having entered. Jonah stands alone, just right of center stage. My brother towers in place, listing a little, backing up into the crook of the grand piano, his only safety. He curls forward, the scroll on a reticent cello. Left hand steadies him against the piano edge, while right hand cups in front of him, holding some letter, now oddly lost. He grins at the odds against being here, breathes in, and sings.

One moment, the Erl-King is hunched on my brother's shoulder, whispering a blessed death. In the next, a trapdoor opens up in the air and my brother is elsewhere, teasing out Dowland of all things, a bit of ravishing sass for this stunned lieder crowd, who can't grasp the web that slips over them:

Time stands still with gazing on her face, Stand still and gaze for minutes, hours, and years to her give place. All other things shall change, but she remains the same, Till heavens changed have their course and time hath lost his name.

Two stanzas, and his tune is done. Silence hangs over the hall. It drifts above the seats like a balloon across the horizon. For two downbeats, even breathing is a crime. Then there's no surviving this surprise except by applauding it away. The noisy gratitude of hands starts time up again, sending the dart to its target and my brother on to the things that will finish him.

This is how I see him, although he'll live another third of a century. This is the moment when the world first finds him out, the night I hear where his voice is headed. I'm up onstage, too, at the battered Steinway with its caramel action. I accompany him, trying to keep up, trying not to listen to that siren voice that says, Stop your fingers, crash your boat on the reef of keys, and die in peace.

Though I make no fatal fumbles, that night is not my proudest as a musician. After the concert, I'll ask my brother again to let me go, to find an accompanist who can do him justice. And again he'll refuse. "I already have one, Joey."

I'm there, up onstage with him. But at the same time, I'm down in the hall, in the place I always sit at concerts: eight rows back, just inside the left aisle. I sit where I can see my own: fingers moving, where I can study my brother's face-close enough to see everything, but far enough to survive seeing.

Stage fright ought to paralyze us. Backstage is a single bleeding ulcer. Performers who've spent their whole youth training for this moment now prepare to spend their old age explaining why it didn't go as planned. The hall fills with venom and envy, families who've traveled hundreds of miles to see their lives' pride reduced to runner-up. My brother alone is fearless. He has already paid. This public contest has nothing to do with music. Music means those years of harmonizing together, still in the shell of our family, before that shell broke open and burned. Jonah glides through the backstage fright, the dressing rooms full of well-bred nausea, on a cloud, as though through a dress rehearsal for a performance already canceled. Onstage, against this sea of panic, his calm electrifies. The drape of his hand on the piano's black enamel ravishes his listeners, the essence of his sound before he even makes one.

I see him on this night of his first open triumph, from four decades on. He still has that softness around his eyes that later life will crack and line. His jaw quakes a little on Dowland's quarter notes, but the notes do not. He drops his head toward his right shoulder as he lifts to the high C, shrinking from his entranced listeners. The face shudders, a look only I can see, from my perch behind the piano. The broken-ridged bridge of his nose, his bruised brown lips, the two bumps of bone riding his eyes: almost my own face, but keener, a year older, a shade lighter. That breakaway shade: the public record of our family's private crime.

My brother sings to save the good and make the wicked take their own lives. At twenty, he's already intimate with both. This is the source of his resonance, the sound that holds his audience stilled for a few stopped seconds before they can bring themselves to clap. In the soar of that voice, they hear the rift it floats over.

The year is a snowy black-and-white signal coming in on rabbit ears. The world of our childhood-the A-rationing, radio-fed world pitched in that final war against evil-falls away into a Kodak tableau. A man has flown in space. Astronomers pick up pulses from starlike objects. Across the globe, the United States draws to an inside straight. Berlin's tinderbox is ready to flash at any moment. Southeast Asia smolders, nothing but a curl of smoke coming from the banana leaves. At home, a rash of babies piles up behind the viewing glass of maternity hospitals from Bar Harbor to San Diego. Our hatless boy president plays touch football on the White House lawn. The continent is awash in spies, beatniks, and major appliances. Montgomery hits the fifth year of an impasse that won't occur to me until five more have passed. And seven hundred unsuspecting people in Durham, North Carolina, disappear, lulled into the granite mountainside opened by Jonah's sound.

Until this night, no one has heard my brother sing but us. Now the word is out. In the applause, I watch that rust red face waver behind his smile's hasty barricade. He looks around for an offstage shadow to duck back into, but it's too late. He breaks into leaky grins and, with one practiced bow, accepts his doom.

They bring us back twice; Jonah has to drag me out the second time. Then the judges call out the winners in each range-three, two, one-as if Duke were Cape Canaveral, this music contest another Mercury launch, and America's Next Voice another Shepard or Grissom. We stand in the wings, the other tenors forming a ring around Jonah, already hating him and heaping him with praise. I fight the urge to work this group, to assure them my brother is not special, that each performer has sung as well as anyone. The others sneak glances at Jonah, studying his unstudied posture. They go over the strategy, for next time: the panache of Schubert. Then the left hook of Dowland, striving for that floating sustain above the high A. The thing they can never stand far back enough to see has already swallowed my brother whole.

My brother hangs back against the fly ropes in his concert black, appraising the choicer sopranos. Stands still and gazes. He sings to them, private encores in his mind. Everyone knows he's won, and Jonah struggles to make it mean nothing. The judges call his name. Invisible people cheer and whistle. He is their victory for democracy, and worse. Jonah turns to me, drawing out the moment. "Joey. Brother. There's got to be a more honest way to make a living." He breaks another rule by dragging me onstage with him to collect the trophy. And his first public conquest rushes to join the past.

Afterward, we move through a sea of small delights and epic disappointments. Congratulating lines form up around the winners. In ours, a woman hunched with age touches Jonah's shoulder, her eyes damp. My brother amazes me, extending his performance, as if he's really the ethereal creature she mistakes him for. "Sing forever," she says, until her caretaker whisks her off. A few well-wishers behind her, a ramrod retired colonel twitches. His face is a hostile muddle, duped in a way he can't dope out. I feel the man's righteousness, well before he reaches us, the rage we repeatedly provoke in his people simply by appearing in public. He waits out his moment in the queue, his anger's fuse shortening with this line. Reaching the front, he charges. I know what he'll say before he gets it out. He studies my brother's face like a thwarted anthropologist. "What exactly are you boys?"

The question we grew up on. The question no Strom ever figured out how to read, let alone answer. As often as I've heard it, I still seize up. Jonah and I don't even bother to exchange looks. We're old hands at annihilation. I make some motions, ready to smooth over the misunderstanding. But the man backs me off with a look that chases me from adolescence for good.

Jonah has his answer; I have mine. But he's the one in the spotlight. My brother inhales, as if we're still onstage, the smallest grace note of breath that would lead me into the downbeat. For a semiquaver, he's about to launch into "Fremd bin ich eingezogen." Instead, he pitches his reply, buffo-style, up into comic head tones:


"I am my mammy's ae bairn,
Wi' unco folk I weary, Sir ..."

His first full night of adulthood, but still a child, giddy with just being named America's Next Voice. His unaccompanied encore turns heads all around us. Jonah ignores them all. It's 1961. We're in a major university town. You can't string a guy up for high spirits. They haven't strung up anyone for high spirits in these parts for at least half a dozen years. My brother laughs through the Burns couplet, thinking to leave the colonel sheepish with eight bars of good-natured cheek. The man goes livid. He tenses and puckers, ready to wrestle Jonah to the ground. But the eager line of admirers moves him along, out the stage door, toward what the prophetic look spreading across my brother's face already knows will be a paralyzing stroke.

At the end of the conga line, our father and sister wait. This is how I see them, too, from the far side of a life. Still ours, still a family. Da grins like the lost immigrant he is. A quarter century in this country, and he still walks around like he's expecting to be detained. "You pronounciate German like a Polack. Who the hell taught you your vowels? A disgrace. Eine Schande!"

Jonah caps a hand over our father's mouth. "Shah. Da. For Christ's sake. Remind me never to take you out in public. `Polack' is an ethnic slur."

"`Polack'? You're crazy. That's what they're called, bub."

"Yeah, hub." Ruth, our mimic, nails him. Even at sixteen, she's passed for the man more than once, over the phone. "What the hell else you going to call people from Polackia?"

The crowd flinches again, that look that pretends not to. We're a moving violation of everything in their creed. But out here in classically trained public, they keep that major-key smile. They push on to the other winners, leaving us, for a last moment, once again our own safe nation. Father and eldest son reel about on the remnants of Schubert still hanging about the emptied hall. They lean on each other's shoulders. "Trust me," the older one tells the younger. "I've known a few Polacks in my day. I almost married one."

"I could have been a Polack?"

"A near Polack. A counterfactual Polack."

"A Polack in one of many alternate universes?"

They babble to each other, the shorthand jokes of his profession. Clowning for the one none of us will name this night, the one to whom we offer every note of our contest prize. Ruth stands in the stage footlights, almost auburn, but otherwise the sole keeper of our mother's features in this world. My mother, the woman my father almost didn't marry, a woman more and longer American than anyone in this hall tonight.

"You did good, too, Joey," my little sister makes sure to tell me. "You know. Perfect and all." I hug her for her lie, and she glows under my grasp, a ready jewel. We wander back to Da and Jonah. Assembled again: the surviving four-fifths of the Strom family chorale.

But Da and Jonah don't need either of us accompanists. Da has hold of the Erl-King motif, and Jonah thumps along, his three-and-a-half-octave voice dropping into bass to whack at his imitation piano's left hand. He hums the way he wanted me to play it. The way it ought to be played, in heaven's headliner series. Ruth and I draw near, despite ourselves, to add the inner lines. People smile as they pass, in pity or shame, some imagined difference. But Jonah is the evening's rising star, momentarily beyond scorn.

The audience this night will claim they heard him. They'll tell their children how that chasm opened up, how the floor dropped out of the old Duke concert hall and left them hanging in the vacuum they thought it was music's job to fill. But the person they'll recall won't be my brother. They'll tell of sitting up in their seats at the first sound of that transmuting voice. But the voice they'll remember won't be his.

His growing band of listeners will chase Jonah's performances, prize his tickets, follow his career even into those last, decoupled years. Connoisseurs will search down his records, mistaking the voice on the disk for his. My brother's sound could never be recorded. He had a thing against the permanent, a hatred of being fixed that's audible in every note he ever laid down. He was Orpheus in reverse: Look forward, and all that you love will disappear.

It's 1961. Jonah Strom, America's Next Voice, is twenty. This is how I see him, forty years on, eight years older now than my older brother will ever be. The hall has emptied; my brother still sings. He sings through to the double bar, the tempo falling to nothing as it passes through the fermata's blackness, a boy singing to a mother who can no longer hear him.

That voice was so pure, it could make heads of state repent. But it sang knowing just what shape rode along behind it. And if any voice could have sent a message back to warn the past and correct the unmade future, it would have been my brother's.


WINTER, AROUND 1950

But no one ever really knew that voice except his family, singing together on those postwar winter nights, with music their last line of defense against the outside and the encroaching cold. They lived in half of a three-story Jersey freestone house that had weathered over half a century to a chocolate brown, tucked up in the northwest corner of Manhattan, a neglected enclave of mixed, mottled blocks where Hamilton Heights shaded off into Washington Heights. They rented, the immigrant David Strom never trusting the future enough to own anything that wouldn't fit into a waiting suitcase.

Continues...


Excerpted from THE TIME OF OUR SINGING by RICHARD POWERS
Copyright © 2003 by Richard Powers
Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

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Sort by: Showing all of 12 Customer Reviews
  • Posted October 7, 2011

    more from this reviewer

    An American Masterpiece

    I'm not kidding! This ranks at or near the top of all novels written any time, any place. OK---Huck Finn probably wins by a nose, but you'll love this book. Richard Powers is obviously an extremely intelligent author, especially concerning music and math/science. Don't be afraid; he writes so well that you'll understand everything, even when you think you won't or couldn't. He writes so well that I found myself having to stop periodically to resume breathing. I would also recommend his other books, especially the Gold Bug Variations (which links the structures of Papa Bach's Goldberg Variations and DNA itself in a way that amazes and delights a careful reader. I would also recommend: One Hundred Years of Solitude (Garcia-Marquez), The Wind-Up Bird Chronicle (Murakami), Specimen Days (Michael Cunningham), and The Dork of Cork (Chet Ramo).

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted December 11, 2013

    An extraordinary book!

    The magic of music, physics, race, and history intwine. Powers' writing is beautiful and incisive at the same time.


    The pages fly as you read along on the journey of our country through the journey of an American family.

    A must for book clubs as you will want to share this beautifully written book as you read from beginning to end.

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  • Posted December 12, 2011

    more from this reviewer

    Magnificent

    Mr. Powers takes us on an extrodinary journey into American history and also delivers one of the most touching love stories written over the last decade. I give this book my highest recommendation.

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  • Posted March 21, 2010

    Brilliant Historical Novel Focused on Race and Classical Music

    This is a sweeping historical novel of epic proportions, following the fictional lives of a German Jewish refugee physicist who comes to hear Marian Anderson on the Mall in 1939 and meets the African-American daughter of a Philadelphia physician who becomes the love of his life. The lives of their children, all of whom inherit beautiful signing voices from their parents (especially their mother), are a fascinating character study of individuals dealing with the changing racial attitudes of society against the backdrop of American history from the 1939 concert to the Million Man March. It is also a portrayal of the world of classical music, with the two Strom boys entering Julliard and the eldest becoming a renowned singer, first in America and then in Europe, rejecting traditional operatic forms and opting to join the early music movement. If the author is not a musician, he must be a tremendous researcher to have delved so deeply into the musical issue presented here. The author is very skilled at character development, allowing each individual to come alive in a non-linear narrative of history, jumping forward and backward in time to suit his purposes to great effect. This is a truly moving and inspiring novel, dealing with profound issues of racial identity and American life in the 20th century, and it deserves wide readership at any time, but especially now as we are led by our first biracial President.

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  • Anonymous

    Posted July 26, 2008

    Time for Time of Our Singing

    If you have the time to read this 631 page book it is certainly an excellent book, beautifully written but not in a succinct fashion. It has been chosen for our book club but I am despairing as to whether our members can or will read it. It addresses important issues connected to racism as the characters confront their own inability to overcome racism and the effects of racism in others, in society and in themselves. It also attempts to verbalize musical experience which can be rather arduous to get through and is not always successful. Music and singing are however,effective metaphors for the experience of the characters.

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  • Anonymous

    Posted June 29, 2004

    What is there to say?

    I read this book for senior humanities independent reading and it was absolutely beautiful. I remember after I finished reading it, I just sat for about 15 minutes dazing off. I don't really know what there is to say except that Powers does a wonderful job of developing his characters and getting you invloved in the story. I also really liked how he incorporated events in history into this story. If you read this you will be a better person.

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  • Anonymous

    Posted March 9, 2004

    An important book for gen-Xers, a beautiful book for all

    I found this book mesmerizing. It transported me completely into worlds I do not know: professional, classical singing, quantum physics, and most importantly, what it was like to be Black in America in the '50s, 60s, and '70s. I only came to the US in the mid-'80s, and even then, as a self-absorbed college kid, so I was ignorant of the period. The Time of Our Singing provided fascinating insights into the highlights of recent American history. The book itself is a song - a lament, at times- overall, a sweeping, entrancing ode. Powers creates beauty in the content, but also in the writing, in the juxtaposition of words. I expect to find this kind of textual music in French literature; I thoroughly savored it in The Time of Our Singing. I highly recommend this book. It is important, enlightening, engaging, and a pleasure to read through.

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  • Anonymous

    Posted May 1, 2003

    Sing For the Tear

    I saw Richard Powers do a reading in Philadelphia, and it is clear that he is a brilliant and motivated man. This is a greatly textured, luminous novel that will keep the reader's mind awake and alive. Some may find it depressing, but I found it to be thought-compelling rather than saddening. This book continually asks the question, 'Have we, as a [local, national, and global] community, made progress in the area of racial relations?' By a stroke of genius it leaves the answer up to the reader.

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  • Anonymous

    Posted April 12, 2003

    Painful Going

    I gather I am the first to write a reader review for this book. I am 67 years old and more or less lived through the events of history which are described. I am a trained classial musician. This book was so very depressing! Perhaps that is because it reminds us how little we have learned in the past century. But this book also got me to thinking about the writing of novels in a negative way. What is the motivation of a novelist? What can he tell us that the newspaper cannot? To whom is he speaking? Is a novel more than a long answer to the question 'what if'? Maybe this book should have been a short story.

    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted September 3, 2011

    No text was provided for this review.

  • Anonymous

    Posted May 21, 2012

    No text was provided for this review.

  • Anonymous

    Posted November 28, 2012

    No text was provided for this review.

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