The Passion of Tasha Darsky

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Natasha Darsky, “the most famous violinist since Paganini,” lights an erotic fire under every piece of music she plays, telling each composer’s story in a singularly sensuous way. The daughter of a renowned art dealer in New York City, Tasha grew up in a world where artistic achievement was the highest value and her father’s opinion determined the rise and fall of many an artist. Her prodigious musical talent, discovered when she is a girl, blossoms at Harvard, where she begins to compose music. She is soon swept up in a passionate love affair with Jean Paul, a young composer whose innovative music is hailed as revolutionary. Under Jean Paul’s shadow, Tasha abandons her dream of writing music and turns toward performance. Channeling the frustration and muted fury of this choice into her playing, she creates a sexually charged sound that packs concert halls around the world year after year. Her young daughter, Alex, follows in her celebrated footsteps, but it is Alex’s talent as a composer that brings mother and daughter together—and tears them apart in ways Tasha could hardly have anticipated.

THE PASSION OF TASHA DARKSY draws readers into the glamorous and competitive world of classical music, capturing its harsh demands and its magical power to move performers and audiences alike. With rare mastery, Yael Goldstein Love offers a sweeping tale of female ambition, unflinchingly rendered in all its danger, confusion, and passion.
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About the author

Yael Goldstein Love graduated from Harvard College in 2000. She lives in Cambridge, Massachusetts. This is her first novel.
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Additional Information

Publisher
Broadway Books
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Published on
Aug 5, 2008
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Pages
320
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ISBN
9780767931014
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Language
English
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Genres
Fiction / Family Life / General
Fiction / Literary
Fiction / Women
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Content Protection
This content is DRM protected.
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Eligible for Family Library

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“An unforgettable story of music, loss and hope. Fans of High Fidelity, meet your next quirky love story.”—People

NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE TIMES (UK) AND THE WASHINGTON POST

It is 1988. On a dead-end street in a run-down suburb there is a music shop that stands small and brightly lit, jam-packed with records of every kind. Like a beacon, the shop attracts the lonely, the sleepless, and the adrift; Frank, the shop’s owner, has a way of connecting his customers with just the piece of music they need. Then, one day, into his shop comes a beautiful young woman, Ilse Brauchmann, who asks Frank to teach her about music. Terrified of real closeness, Frank feels compelled to turn and run, yet he is drawn to this strangely still, mysterious woman with eyes as black as vinyl. But Ilse is not what she seems, and Frank has old wounds that threaten to reopen, as well as a past it seems he will never leave behind. Can a man who is so in tune with other people’s needs be so incapable of connecting with the one person who might save him? The journey that these two quirky, wonderful characters make in order to overcome their emotional baggage speaks to the healing power of music—and love—in this poignant, ultimately joyful work of fiction.

Praise for The Music Shop
 
“Captures the sheer, transformative joy of romance.”—The Washington Post
 
“Love, friendship, and especially the healing powers of music all rise together into a triumphant crescendo. . . . This lovely novel is as satisfying and enlightening as the music that suffuses its every page.”—The Boston Globe
 
“Magnificent . . . If you love words, if you love music, if you love love, this [novel] will be without question one of the year’s best.”—BookPage (Top Pick in Fiction)
 
“Joyce has a knack for quickly sketching characters in a way that makes them stick. [The Music Shop] will surprise you.”—Minneapolis Star Tribune

“Rachel Joyce has established a reputation for novels that celebrate the dignity and courage of ordinary people and the resilience of the human spirit. . . . But what really elevates The Music Shop is Joyce’s detailed knowledge of—and passion for—music.”—The Guardian
A captivating and deeply personal novel from one of Australia's most respected authors.

Athena and Dexter live a happy but insular life, bound by routine and the care of their young sons. When Elizabeth, an old friend from Dexter’s university days, turns up with her much younger sister, Vicki, and her lover, Philip, she brings an enticing world to their doorstep. And Athena finds herself straining at the confines of her life.

Helen Garner portrays her characters with a clear eye for their dreams, their insecurities and their deep humanity in this intimate and engaging short novel, which was first published in 1984. The Children’s Bach is ‘a jewel’, in Ben Lerner’s description, ‘beautiful, lapidary, rare’.

Helen Garner is one of Australia’s finest authors. In 2006 she received the inaugural Melbourne Prize for Literature, and in 2016 she won the prestigious Windham–Campbell Prize for non-fiction. Her novels include Monkey Grip, The Children’s Bach, Cosmo Cosmolino and The Spare Room.

There was a piano in the kitchen and during the day Athena would shut herself in there under the portrait of Dexter’s father and pick away at Bartok’s Mikrokosmos or the easiest of Bach’s Small Preludes. Preludes to what? Even under her ignorant fingers those simple chords rang out like a shout of triumph, and she would run to stick her hot face out of the window.

‘Garner is a natural storyteller.’ James Wood, New Yorker

‘Her use of language is sublime.’ Scotsman

‘This is the power of Garner’s writing. She drills into experience and comes up with such clean, precise distillations of life, once you read them they enter into you. Successive generations of writers have felt the keen influence of her work and for this reason Garner has become part of us all.’ Australian

‘Garner wears her mastery lightly—the novel never draws undue attention to its own modernist tricks. Unfolding, as the title suggests, like a halting piece of music, its effects are subtle and unexpected.’ Harper’s

'What Garner offers in these novels is an alternative to the cloying metafiction of the late 20th century and the washed-out realism of the 21st. They are undeniably of their time – the 1970s commitment to the liberating possibilities of sex, drugs and communal living in Monkey Grip, the hangover nursed in the 1980s in The Children’s Bach – but they also belong to a literary epoch we think of as long gone, as they earnestly strive to resurrect a modernist art of estrangement.' London Review of Books

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