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63 pages 2 hours read

Brendan Slocumb

Symphony of Secrets

Fiction | Novel | Adult | Published in 2023

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Act 2Chapter Summaries & Analyses

Act 2: “1918”

Act 2, Chapter 11 Summary: “Coming to NYC, Scherzo: Josephine Reed”

Josephine’s initial impressions of New York include colors and sounds. When she gets off the subway, she is jostled by the crowd and accidentally steps on a girl’s foot. Eventually, she finds the music she is looking for; it includes a trombone, a clarinet, and a trumpet.

Act 2, Chapter 12 Summary: “Jamming With the Fellas: Freddy”

In the Alibi Club, Frederic Delaney (or Freddy, as he is called here) is about to get kicked out of his jazz band. He argues about his musical mistakes with the other band members, Eli, Red, and Bobby. Josephine Reed, whom they call “Crazy Jo,” plays Freddy’s part on the piano without his mistakes, then plays it again with his mistakes. Freddy is able to hear the difference even though he does not understand her commentary about colors, as when she obscurely mentions “the green with the star” (147). The band agrees to give Freddy another chance in two weeks. As his bandmates leave, he gets a drink and introduces himself to Josephine. She continues to talk about colors, and Freddy asks her to show him what she means by giving him piano lessons. She agrees when he offers to pay her.

Act 2, Chapter 13 Summary: “White Torrent: Freddy”

The following evening, Josephine comes over to give Freddy a piano lesson. She plays the song “Burndown” and tries to explain the music in terms that include colors and objects, mentioning images such as “falling knobs” and sitting “like a white torrent” (155). Freddy still doesn’t understand her, but he is able to mimic her posture and playing. He makes her flapjacks and asks where she lives, but she avoids answering the question. Freddy pays her the going rate for piano lessons, which she tries to refuse because she is grateful to be able to play a piano. He convinces her to take the money and arranges for another lesson the following day.

Act 2, Chapter 14 Summary: “Azure & Birch: Freddy”

Freddy is excited about his piano lesson. During the day, he works for John Ditmars. Ditmars sends him to play the piano at Altman’s shoe sale. Freddy plays “Waltz Me Around the Old Ballroom” and other ballads, and he also takes requests from shoppers. Then, he plays “Burndown” as Josephine taught him to play it. The shoppers like the song and want to buy sheet music of it, so Freddy suggests that they come to see him play it at the Alibi Club.

The next few evenings, Josephine gives Freddy more lessons, and Freddy makes dinner for her. On Thursday, Josephine admits that she doesn’t have a place to live, and Freddy offers her a space to sleep in his studio. He tells her to claim to be his “cleaning lady” if any of his neighbors question why a Black woman is in a space that is otherwise designated for white people. Then, he gives her a chance to clean up in the shared bathroom. As they eat, she tells him that she is going to listen to music at Hattie’s Dance Hall. Freddy asks to tag along.

Hattie’s is a mostly Black establishment in Harlem. Freddy and Josephine watch some comedians and other acts before the singer she wants to hear finally performs. Josephine becomes emotional while listening to him, and after he stops playing, she talks about the colors in his music.

Act 2, Chapter 15 Summary: “Following the Trail: Freddy”

The next day, Josephine wakes Freddy up by playing the song they heard the night before: “Carillion.” She plays other songs as well, and they discuss chord combinations and progressions, which she calls “the trail.” Freddy feels that these lessons are improving his playing. When he returns from working for Ditmars on Monday, Josephine has dinner ready and has cleaned the apartment. She explains that she bought the food with the money he gave her for piano lessons.

Act 2, Chapter 16 Summary: “Gainful Employment: Freddy”

Two weeks after Freddy and Josephine meet, they return to the Alibi Club. The other band members challenge Freddy, and they are impressed with his solo in “Ja-Da.” After they finish their set, Freddy’s place in the band is secure. The following day, Freddy goes to see Ditmars and asks him to give Josephine a job filing and cleaning. Ditmars reluctantly agrees to meet Josephine the following day. That evening, Freddy tells Josephine about the job at Ditmars & Ross. She is wary at first but warms to the idea. Freddy tries to ask her about her doodles.

The next day, Freddy introduces Josephine to the receptionist, Eunice, and to Ditmars. The latter is upset that Freddy did not mention that Josephine is Black. Ditmars makes several racist remarks. Freddy argues that they need the help. He asserts that Josephine is knowledgeable about music and suggests that she could stay behind the scenes. Ditmars reluctantly agrees to give Josephine a trial week. She begins filing sheet music, and Eunice orients Josephine to her new job. Meanwhile, Ditmars sends Freddy to play at Constable’s.

Act 2, Chapter 17 Summary: “The Orange in the Black & Green: Freddy”

During her first day working for Ditmars, Josephine cleans and organizes the office. Over the next few days, Freddy buys her shoes, and Josephine cooks for Freddy. When she encounters Freddy’s neighbors, she claims to be his “cleaning lady.” One Wednesday, however, Josephine has a mental breakdown while working and ends up screaming under a piano. When Freddy tries to talk to her, she mutters incoherently about orange, black, and green. He calms her down by giving her a pencil and paper.

Ditmars wants to fire Josephine, but Freddy and Eunice defend her. Ditmars agrees to give her another chance. That evening, Josephine doesn’t cook for them, so Freddy makes flapjacks. After her breakdown, Josephine makes sure to always have a pencil and paper nearby so that she can write and calm herself whenever she becomes agitated.

Act 2, Chapter 18 Summary: “Amber in the Speedway: Freddy”

After three months of being roommates with Freddy, Josephine plays an original song, which she calls a “long flash of amber in the speedway” (202). When Freddy asks her about it, she says that she played it because she wanted to hear it. Josephine starts making breakfast, but Freddy encourages her to play her song repeatedly. He transcribes it, writes lyrics for it, and suggests that they sell the sheet music to Ditmars.

Freddy plays Josephine’s song for Ditmars, using his lyrics and calling it “Bring Back the Moon.” He doesn’t mention Josephine at all and claims to have written the music himself. Ditmars buys it for 10 dollars. A few weeks later, a singer named Miles Turpin records the song and compliments Freddy on it. Freddy is thrilled to see printed copies of the sheet music, and he brings one to Josephine. He plans to play it while working in department stores the next day to sell copies. Josephine notes that her name isn’t on the music. Freddy explains that he wouldn’t have gotten as much money for it if Ditmars knew that a Black woman wrote it instead of a white man. That night, they celebrate the sale with champagne.

Over the next few days, Freddy plays the song at Altman’s and other stores and sells many copies of the sheet music. He starts hearing the song everywhere, even on the subway. Miles says that Ditmars is making a huge profit off the song; Miles also offers to buy Freddy’s next song for a better rate. Freddy composes his own songs, which are inspired by “Bring Back the Moon,” but Ditmars refuses to buy any of them. This puzzles Freddy.

Act 2 Analysis

In this section, Slocumb writes his first chapter from Josephine’s perspective in the third person limited perspective. This section emphasizes Bern and Eboni’s discovery of Josephine in the first section, cementing the elusive musician’s importance to the overall plot. Significantly, Slocumb subtitles Josephine’s first chapter “Scherzo,” which is a musical term that refers to an up-tempo section of music that is often short and embedded within a larger piece of music, such as an opera. Josephine’s perspective also introduces the importance of colors and synesthesia in the narrative, implicitly emphasizing the fact that she is neurodivergent and experiences sounds as colors. In the first paragraph of her chapter, she mutters to herself, “Pink, blue, white” (139), and as the story unfolds, it is clear that either naming or writing down the colors that she perceives allows her to process the intense input she receives from the world around her. Her descriptions suggest that she sees the world uniquely, for she not only describes sounds as colors but also includes other unconventional words. For instance, she tells Freddy to “sit like a white torrent” in the first piano lesson she gives him (155). Although he doesn’t understand her references, he is savvy enough to mimic how she plays, and he soon realizes that she is a musical genius with perfect pitch. He therefore looks for ways to exploit her talent for his own gain, further developing The Effects of Individual and Institutional Racism.

This section also further explores the theme of Evolving Methods of Preserving Media by focusing on Josephine’s unique musical notation. Initially, Freddy fails to realize that Josephine’s “doodles” are recording uniquely exquisite musical creations. However, he is able to write what she plays and record it in standard musical notation, thereby making it accessible to the general public. The ubiquitous influence of her synesthesia is invoked once again when she calls her original song “a long flash of amber in the speedway” (202). While Freddy’s decision to transcribe it, add lyrics, rename it, and sell it is clearly exploitative in the extreme, the chapter also draws attention to the many different forms that a single piece of music can take once it is created. Freddy transforms her music into physical media, and as the narrative states, a “melody that had been only in her head was now printed in black-and-white, so the world could finally hear what she heard” (209). The physical media of sheet music represents a reliable way to share songs, and while this notation is still widely used today, it was of particular importance in the days before recordings could be easily purchased. The narrative later reveals that Josephine is fully capable of writing in standard musical notation herself, but she prefers her system, and she allows Freddy to believe that he is translating for her because it is a way to spend time with him.

Additionally, Slocumb develops The Effects of Individual and Institutional Racism, particularly with regard to Ditmars’s behavior, for he makes a number of racist comments when Freddy suggests that he hire Josephine. In this moment, Freddy defends Josephine, which seemingly implies that he may be far less prejudiced than his employer. However, Freddy later tells Josephine that she shouldn’t put her name on the music because she is Black, and he blatantly devalues her by stating, “If I told him it was written by a white man he’d pay more for it” (210). While it is true that white men make more money than Black women, Freddy denies Josephine any credit for her work, taking advantage of her because she is Black and neurodivergent. Thus, he demonstrates his ableism as well as his racism.

Josephine’s situation also highlights the insidious effects of institutional racism. During this time frame, segregation is openly supported by institutions ranging from Freddy’s landlord—and more broadly the landlord class—to the city’s dominant employers as well. To justify her presence in Freddy’s building, Josephine must pretend to be his “cleaning lady.” Other institutions that perpetuate racism are the clubs and dance halls that do not allow Black customers to enter. While Freddy, a white man, can easily visit Hattie’s, a club in Harlem whose customers are almost entirely Black, Josephine cannot visit clubs that broadly refuse admittance to Black people. Within this social context, white audiences consume Black music, but Black audiences are extremely limited in what institutions they can visit in the late 1910s and early 1920s.

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By Brendan Slocumb