Misfortune (Taschenbuch)

The story thus far is so engaging, and the details of Rose's childhood so playfully rendered (when she was first brought to Loveall Hall, the staff of 250 included a servant whose sole responsibility was to iron newspapers before their second reading), that it is with reluctance that the reader meets the inevitable rude, scheming relatives whose plotting will lead to the "misfortune" of the title. Luckily, Stace (the given name of the musician John Wesley Harding) takes too much delight in Rose to dump her back on the garbage heap, or at least not for long. The cross-dressing love child of Great Expectations and A. S. Byatt's Possession, Misfortune will find you breathlessly tracking the movements of its principal players, and applauding the most ridiculous twists of fate. --Regina Marler

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Born in Hastings and educated at Cambridge, Wesley Stace is also known as the musician John Wesley Harding. Musical influences are on display in his gender-bending debut novel, Misfortune, a historical tale set in 19th-Century England about an abandoned boy raised as a girl. Read on to listen to three original songs inspired by the book.

A Message from Wesley Stace
Songs weave their way throughout Misfortune--some are ballads, crucial to the plot and written by one of the characters, others are traditional songs sung at various points of the narrative, others are folk songs from a collection in the Octagonal Library of Love Hall, the home of the central family.

Songs aren't anything if they aren't sung, so I decided to match melodies and words and record some of them. I picked these because they were the first two. There will be a full record of the songs of Misfortune, performed by The Love Hall Tryst (myself, Kelly Hogan, Nora O'Connor, and Brian Lohmann) which will be released by Appleseed Recordings later this year. --Wesley Stace

"Lambkin"
From Chapter One: "For a moment, the laundress was unaware that there was anyone beneath. She began to sing as she worked and this is what finally breathed life into Pharaoh again. It was one of the old songs, his favourite of the many she sang: the story of Lambkin the builder who tortures Lord Murray's family when his note is refused. The purity of Annie's voice contrasted starkly with the words of her song and the street below:
"'Where is the heir of this house?' said Lambkin:
'Asleep in his cradle,' the false nurse said to him.
And he pricked that baby all over with a pin,
While the nurse held a basin for the blood to run in."
She had sung it so many times as a lullaby that the horror of the story was somehow soothing."