The Ragtime Kid: A Ragtime Mystery (Ragtime Mystery Trilogy) [Englisch] [Gebundene Ausgabe]

Brun Campbell loves to hear and play music. In Oklahoma city he listens to some musicians in a music store playing a tune by Scott Joplin and knows instantly that is what he wants to learn how to play. He runs away from home at fifteen and hops a train for Sedelia, Missouri in the hopes that he can get Mr. Joplin to give him lessons. On the way into town he runs across the body of a woman strangled to death and he takes a musical money clip that is nearby and a locket on her neck.

In town he meets businessman Mr. Fitzgerald who stakes him to a room at the YMCA and money to buy food while he looks for work. Someone who hears him playing music recommends he ask music store owner Mr. Stark for a job. Mr. Stark listens to him play and offers him a job on the spot. He also auditions for Joplin who agrees to give him lessons. When Mr. Fitzgerald is arrested for the murder of the woman Brun saw the first day he was in town; he knows the man didn't do it. The money clip which belonged to Joplin could implicate him and Brun in the murder. Brun decides to find the killer with the unwitting help of the townsfolk as he maneuvers them in the direction he wants them to go for information relating to the murder.

As historical mysteries go, THE RAGTIME KID is one of the better ones. The author doesn't only write a good who done it, he shows the readers how the plight of the black man had changed very little since Emancipation back three decades earlier. Scott Joplin takes a big risk to be paid in royalties with his name as the arranger of the music, something unheard of in the 1890's. The protagonist has a touch of larceny in him that helps him get what he wants but he is so adorable, readers will root for him in spite of his faults.

Harriet Klausner

THE RAGTIME KID is a historical mystery based on actual people and events surrounding Scott Joplin's composition and publication of The Maple Leaf Rag in Sedalia, Missouri in 1899. The story is told through the eyes of Brun Campbell, a young white piano player who hears Scott Joplin's "colored" Ragtime music and becomes obsessed with it and the composer. He leaves his home to study piano with Joplin in Sedalia and becomes involved in a murder case and an interracial struggle for control of the black composer's music.

Until I read this book, I knew little about Joplin or Ragtime music, but I found this book fascinating. Karp has done a wonderful job of bringing to life a time and place that seems very distant to many us now. Karp's Sedalia is a turbulent mixture of blacks and whites with strongly held feelings about the desired relations of the races - former Union and Confederate soldiers, freed slaves, freeborn blacks, abolitionists, and KKK members all live in this small town. And when Scott Joplin, a talented, educated black man, refuses to sell the rights to his music cheaply to a white man, it is like putting a match to a powder keg.

The thing I found so interesting about this book was the amount of historical fact that Karp has used in the story. He has basically created the mystery to suit and explain the fantastic and unprecedented events of 1899. While he did create several fictional characters for the story, Karp populated Sedalia with many of its actual inhabitants and businesses. Those of you who know more about Ragtime than I did may already know that Brun Campbell isn't a fictional character, that he did study with Joplin in 1899, and was a professional musician for much of his life. Me? I was surprised.

While the resolution of the mystery is a little too sensational to ring true, Karp's exploration of the motivations of the different historical characters is a delightful study of conflict and compromise. Frankly, I couldn't put the book down because I wanted to find out how these real-life people from long ago turned out.

Favorite character? Dr. Walter Overstreet. Did I guess it? Mostly. Will I read another? This is the first book of a Ragtime trilogy and the quality of Karp's writing and the ability to draw in the reader makes this a definite yes. I have to know how it ends!

I've just re-read Larry Karp's The Ragtime Kid, and just as you shouldn't play ragtime too fast, you shouldn't read Karp's book too fast, either, lest you miss the music of his prose and the nuances of the stories he tells.

In this, his latest book, it's 1899, and young piano player Brun Campbell has run away from his rural home in Oklahoma to Sedalia, Missouri. He's only just heard ragtime for the first time, and hopes to learn this new music from the master himself, Scott Joplin. Arriving in Sedalia, and looking for a room for the night, he stumbles, literally, upon the body of a woman, and picks up two objects that will become vital to the solution of her murder. He finds employment at a music store, and begins studying with Joplin, but when a man he knows is innocent is arrested, Brun is, however unwillingly, drawn into the search for the real murderer.

Though Sedalia is a town filled with music, it is only 30 years since the end of the War Between the States, and racism is very much a part of this story. Joplin insists on being taken seriously as a musician, and receiving royalties on the sheet music which will bear his name as composer, an unprecedented demand for the times. Thus, another plot line develops, as Joplin pursues his ambitions despite some unprincipled and amoral adversaries.

The characters here are a mixture of real, from Joplin and Campbell and other musical figures, and fictional, to some of the townspeople. In skin color, they are black and they are white, and in character they are black and white, as well, but the two categories do not necessarily overlap. Brun himself is a fifteen-year-old, a musical Huck Finn in some ways, coming of age in a world more complex than he ever imagined, and he's learning, at first hand, what black and white are all about. As events unfold, Karp vividly captures the sheer awfulness of racial (and other) bias as it was then.

Just as there are two plot lines, there are two narrative voices here, speaking in a gentle counterpoint. One voice is someone who knows Brun and tells his part of the story, occasionally noting that "Brun once told [him]" about one event or another. The other voice is an omniscient third-person narrator, who recounts Joplin's story, and the ongoing search for the murderer of the woman whose body Brun found. As Brun's music lessons commence, his plot and Joplin's intertwine, connected by some unscrupulous music promoters, and by his own efforts to absolve the innocent man.

All the characters, and some of them are surprising, are vividly realized, and they all speak very much in their own voices. Those voices, moreover, are often eloquent. Early in the book, Joplin tells Brun that ragtime is like "a bright sunny day, just a perfect day, but . . . sooner or later, the lovely day will have to end." Even more moving is a grieving father's lament for the brutal death of his son, which he knows will not be investigated: "[We] was born slaves, and now we been set free, but I don't see the leas' difference. White men kill us on the plantation, they kill us now, an' it's no matter."

From the geography of Sedalia to its weather, the sense of place in the novel is intense. It's a book that takes place in a hot Missouri summer, when the air is "close to drinkable," and we breathe in that heat and humidity as we follow Brun through the city. More characters appear, his life becomes more complicated, and as he puzzles out the solution to the murder, the action leads up to a triple denouement. First there's a violent confrontation with some brutal men, followed by an even more suspenseful encounter which culminates in the unmasking of a murderer. Then, in a shocking turnaround, Brun's own "lovely day" is over, and his life moves in a new direction.

The Ragtime Kid is a scrupulously researched look at a time in America's musical and social past, a fiction that can, as Karp notes in the concluding pages of his book, tell "a truth more striking and wondrous than any historical reality." It's a book written with humor (and not a little irony), with occasional pathos, and always with generosity . Listen to some Joplin while you read it