1999. Winter. Bondi. Harry's been on the streets so long he could easily forget what time is. So Harry keeps an eye on it. Every morning. Then he heads to the beach to chat with the gulls. Or he wanders through the streets in search of food, clothes, Jules. When the girl on the bus sees him, lonely and cold in the bus shelter that he calls home, she thinks about how she can help. She decides to write a symphony for him. So begins a poignant and gritty tale of homelessness and shelter, of the realities of loneliness and hunger, and of the hopes and dreams of those who often go unnoticed on our streets. This is the story of two outcasts--one a young woman struggling to find her place in an alien world, one an older man seeking refuge and solace from a life in tatters. It is also about the transformative power of care and friendship, and the promise of escape that music holds. An uplifting and heartbreaking story that demands empathy. Amid the struggles to belong, we are reminded that small acts of kindness matter.

Although Gustav Mahler was a famous conductor in Vienna and New York, the music that he wrote was condemned during his lifetime and for many years after his death in 1911. “Pages of dreary emptiness,” sniffed a leading American conductor. Yet today, almost one hundred years later, Mahler has displaced Beethoven as a box-office draw and exerts a unique influence on both popular music and film scores. Mahler’s coming-of-age began with such 1960s phenomena as Leonard Bernstein’s boxed set of his symphonies and Luchino Visconti’s film Death in Venice, which used Mahler’s music in its sound track. But that was just the first in a series of waves that established Mahler not just as a great composer but also as an oracle with a personal message for every listener. There are now almost two thousand recordings of his music, which has become an irresistible launchpad for young maestros such as Gustavo Dudamel. Why Mahler? Why does his music affect us in the way it does? Norman Lebrecht, one of the world’s most widely read cultural commentators, has been wrestling obsessively with Mahler for half his life. Pacing out his every footstep from birthplace to grave, scrutinizing his manuscripts, talking to those who knew him, Lebrecht constructs a compelling new portrait of Mahler as a man who lived determinedly outside his own times. Mahler was—along with Picasso, Einstein, Freud, Kafka, and Joyce—a maker of our modern world. “Mahler dealt with issues I could recognize,” writes Lebrecht, “with racism, workplace chaos, social conflict, relationship breakdown, alienation, depression, and the limitations of medical knowledge.” Why Mahler? is a book that shows how music can change our lives.

Jon Aesop, a man without religious belief, is forced to question everything when his family is tortured and killed by what appears to be an angel. Desperate to find his wife's soul, he must survive murderous angelic forces while seeking answers to the afterlife. Var is a freak to humanity and an abomination among angels. For centuries he's hunted in the shadows, living a life of self-destruction, but obsessed with revenge. What they both discover-hidden in the depths of hell-will change everything "Soil-Man is a rare combination of fine (sometimes incandescent) writing, high-speed action, violence, gore, humor, erudition and philosophical point-scoring. It's horror that will appeal to the intelligent and educated. It's cinematic on the outside and introspective within." Mark Clements Award winning author of "Lorelei" and "The Land of Nod" "This novel is righteous in every sense of the word. Not for faint hearts or weak stomachs, 'Soil-Man' will appeal to strong-willed clear-eyed seekers of truth --if they're out there." Jennifer Silva Redmond Editor, "Sea of Cortez Review" "As a human being, Oz Monroe inspires me as a woman and as an artist. As a book, Soil-Man evokes emotion, inspires thought, and keeps me coming back for more. It is the only work of fiction I am recommending this year." M. Elisabeth Howell Author of "Evening Light"

“A friend in history,” Henry David Thoreau once wrote, “looks like some premature soul.” And in the history of friendship in early America, Caleb Crain sees the soul of the nation’s literature. In a sensitive analysis that weaves together literary criticism and historical narrative, Crain describes the strong friendships between men that supported and inspired some of America’s greatest writing--the Gothic novels of Charles Brockden Brown, the essays of Ralph Waldo Emerson, and the novels of Herman Melville. He traces the genealogy of these friendships through a series of stories. A dapper English spy inspires a Quaker boy to run away from home. Three Philadelphia gentlemen conduct a romance through diaries and letters in the 1780s. Flighty teenager Charles Brockden Brown metamorphoses into a horror novelist by treating his friends as his literary guinea pigs. Emerson exchanges glances with a Harvard classmate but sacrifices his crush on the altar of literature--a decision Margaret Fuller invites him to reconsider two decades later. Throughout this engaging book, Crain demonstrates the many ways in which the struggle to commit feelings to paper informed the shape and texture of American literature.

Originally published: Somerville, Massachusetts: Candlewick Press, 2015.

Baby falls asleep to a thunderstorm in the city, where all of the sounds blend together into a lullaby.

A Kirkus Reviews Best Nonfiction Book of 2021 A provocative interpretation of why classical music in America "stayed white"—how it got to be that way and what can be done about it. In 1893 the composer Antonín Dvorák prophesied a “great and noble school” of American classical music based on the “negro melodies” he had excitedly discovered since arriving in the United States a year before. But while Black music would foster popular genres known the world over, it never gained a foothold in the concert hall. Black composers found few opportunities to have their works performed, and white composers mainly rejected Dvorák’s lead. Joseph Horowitz ranges throughout American cultural history, from Frederick Douglass and Huckleberry Finn to George Gershwin’s Porgy and Bess and the work of Ralph Ellison, searching for explanations. Challenging the standard narrative for American classical music fashioned by Aaron Copland and Leonard Bernstein, he looks back to literary figures—Emerson, Melville, and Twain—to ponder how American music can connect with a “usable past.” The result is a new paradigm that makes room for Black composers, including Harry Burleigh, Nathaniel Dett, William Levi Dawson, and Florence Price, while giving increased prominence to Charles Ives and George Gershwin. Dvorák’s Prophecy arrives in the midst of an important conversation about race in America—a conversation that is taking place in music schools and concert halls as well as capitols and boardrooms. As George Shirley writes in his foreword to the book, “We have been left unprepared for the current cultural moment. [Joseph Horowitz] explains how we got there [and] proposes a bigger world of American classical music than what we have known before. It is more diverse and more equitable. And it is more truthful.”