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The life of Eilish Eam, an orphaned street musician in eighteenth-century London, changes forever thanks to Erin Rushton, a classical musician from Seattle in the year 2018, who has visions of a young girl from the past who desperately needs her help.
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This book is well-written: all the characters have backstories and motivations, and the setting is fully realized. Despite this, I felt no connection with the characters. I read the entire book, but I never felt drawn to the story, wondering what would happen next. And I should have, because this was an interesting idea. As a musician, I loved the history of the glass harmonica; as a historian, I thought Marley's depiction of Benjamin Franklin was great; as a scientist, I loved the idea of applying music to neuro-therapy. As a writer, I thought something was lacking, which may be because the back cover copy made the story seem more action-oriented, a time-travel similar to The Lake House (which defies so many laws of physics and time-travel, even).
A pleasant read, the one thing that really annoyed me was Marley's use of “'twas” and “'tis,” beyond the 1761 dialogue. For example: Eilish pushed the basket again, trying to make her two seed coins clink together. Talk brought no food. ‘Twas money she needed. In my opinion, Marley should have stuck with a first-person narrative for the 1761 story, and third-person for the 2018, if she wanted to write like that. But then, another reader will find it charming, and think I'm crazy for not liking it. Such a subjective profession this is...
Originally posted at http://worderella.com/2007/07/book-the-glass-harmonica/