Bleak Music

Lela knows two things: her history teacher must die and she must start a new life beyond the pear field. On the outskirts of Tbilisi, in a newly independent Georgia, is the Residential School for Intellectually Disabled Children – or, as the locals call it, the School for Idiots. Abandoned by their parents, the pupils here receive lessons in violence and neglect. At eighteen, Lela is old enough to leave, but with nowhere to go she stays and plans, both for her own escape and for the future she hopes to give Irakli, a young boy at the school. When a couple from the USA decide they want to adopt a child, Lela is determined to do everything she can to help Irakli make the most of this chance.

"Why did he come back?" Tommy Tate finished his sophomore year alone at home, suspended from Latimer High School. Hated, dangerous, and accused of plotting to murder a classmate, Tommy was considered a monster by his peers and community. He swore that he would never step foot in LHS again. But now it's fall, and after a summer of silence, Tommy arrives for the first day of school, leaving everyone to ask - why did he come back?

The place of music in Ranciere's thought has long been underestimated or unrecognised. This volume responds to this absence with a collection of 15 essays by scholars from a variety of music- and sound-related fields, including an Afterword by Ranciere on the role of music in his thought and writing. The essays engage closely with Ranciere's existing commentary on music and its relationship to other arts in the aesthetic regime, revealed through detailed case studies around music, sound and listening. Ranciere's thought is explored along a number of music-historical trajectories, including Italian and German opera, Romantic and modernist music, Latin American and South African music, jazz, and contemporary popular music. Ranciere's work is also set creatively in dialogue with other key contemporary thinkers including Adorno, Althusser, Badiou and Deleuze.

Bleak House follows the fortunes and relationships of three characters whose fates are tied to the obscure inheritance case of Jarndyce v. Jarndyce, which is tied up in endless litigation. While many deserving and undeserving claim the inheritance, it is ironically being devoured in legal costs.

One of Charles Dickens’s most critically admired novels, this story of a monumental and life-consuming court case features one of his most vast and varied casts of colorful characters. In Bleak House, competing claims of love and inheritance—complicated by murder—have given rise to a costly and decades-long legal battle that one litigant refers to as “the family curse.” The insidious London fog that rises from the river Thames and seeps into the very bones of the characters symbolizes the pervasive corruption of the legal system and the society that supports it, targets of Dickens’s satirical wrath. Displaying Dickens’s familiar panoramic sweep and brilliant characters—including the mysterious orphan Esther Summerson, her gentle guardian John Jarndyce, the haughty Lady Dedlock, and the scheming lawyer Mr. Tulkinghorn—the novel is also a bold experimental narrative that unforgettably dramatizes our most basic human conflicts.

Dark Echo is an unlucky boat. Despite this knowledge, Martin Stannard falls under her spell and prepares to sail her across the Atlantic with his wealthy father. But his lover Suzanne begins exploring the yacht's past. What she finds is terrifying. Because this boat isn't just unlucky, it's evil. It was built for Henry Spalding, a soldier and sorcerer who committed suicide yet still casts his malevolent spell nearly a century after his death. Suzanne must uncover his last, terrible secret before Dark Echo destroys the man she loves.

This book examines sonic signals as something both heard internally and externally, through imagination, memory and direct response. In doing so it explores how the mind 'makes' sound through experience, as it interprets codes on the written page, and creates an internal leitmotif that then interacts with new sounds made through an aural partnership with the external world, chosen and involuntary exposure to music and sound messages, both friendly and antagonistic to the identity of the self. It creates an argument for sound as an underlying force that links us to the world we inhabit, an essential part of being in the same primal sense as the calls of birds and other inhabitants of a shared earth. Street argues that sound as a poetic force is part of who we are, linked to our visualisation and sense of the world, as idea and presence within us. This incredibly interdisciplinary book will be of great interest to scholars of radio, sound, media and literature as well as philosophy and psychology.

Bleak House is not certainly Dickens's best book; but perhaps it is his best novel. Such a distinction is not a mere verbal trick; it has to be remembered rather constantly in connection with his work. This particular story represents the highest point of his intellectual maturity. Dickens' ninth novel was intended to illustrate the evils caused by long, drawn-out suits in the Courts of Chancery.