Nina Rosewood on the role of music in this novel:
Music often reveals something about people, landscapes, seasons, time of the day, epoques and moods all at once.
In SURRENDERING, some of the music is intentionally anachronistic — meaning it didn’t yet exist at the time in which the story takes place.But in this novel, that can hardly be called a problem.
Two of the three protagonists are themselves anachronisms. They come from 2021 and could not possibly have existed in 1901, the year in which most of the story unfolds.
Or… could they? Is it perhaps not so impossible after all?And the third protagonist?
He belongs entirely to 1901. Yet he is a great musician, and the essence of him — his music — accomplishes what his body cannot: it travels forward in time with ease, reaches into the future, and finds the woman he loves, drawing her back into his world.
This composer draws entire landscapes. Landscapes in sound.As a little girl, Marie-Rose already loved his music and played it on her piano.
And now, as a young woman, she finds herself loving the man behind that music — the man she meets, alive, in 1901.
