“And there is one chord, one perfect assembly of notes that no other hand can play. The sound of it – pure, rinsing sound, void so that your spirit seems to rush in to fill the space between the notes”

The Secret Chord is the fifth novel by Pulitzer prize-winning Australian author, Geraldine Brooks. David, son of Yishai (Jesse) the Beit Lehemite (Bethlehemite): a shepherd boy, a warrior, an accomplished harpist with a beautiful voice, a composer of psalms, a husband, father, lover, and second King of the United Kingdom of Israel; the significant events in the life of this charismatic figure from the 10th century BCE are related by Natan (Nathan), prophet and part of David’s retinue from the tender age of ten, whose perspective is that of one both present and prescient.

Natan says: “I have set it all down, first and last, the light and the dark. Because of my work, he will live. And not just as a legend lives, a safe tale for the fireside, fit for the ears of the young. Nothing about him ever was safe. Because of me, he will live in death as he did in life: a man who dwelt in the searing glance of the divine, but who sweated and stank, rutted without restraint, butchered the innocent, betrayed those most loyal to him. Who loved hugely, and was kind; who listened to brutal truth and honored the truth teller; who flayed himself for his wrongdoing; who built a nation, made music that pleased heaven, and left poems in our mouths that will be spoken by people yet unborn”. He also tells us “They knew his flaws. Indeed, I think they loved him all the more because he was flawed, as they were, and did not hide his passionate, blemished nature”

The subject matter that Brooks selects for her novels may well be one which a reader would not normally choose, but with this author, the reader is, nonetheless, rewarded with an eminently readable story. Brooks is skilled at making a historical subject come to life by telling the story from the perspective of one closely involved in events, and this book is no exception: all those battles, all that slaying, all the lay withs and begats that cause the eyes to glaze over when read in their original form are made into a riveting read. (For readers who have forgotten their bible stories [or never read them], Wikipedia is a great quick reference on David’s life.) The small details of everyday life, the biblical–sounding language and archaic spelling of character names give the text an authentic feel. And as always, the depth of research that Brooks has done on her topic is apparent in every paragraph.

Her descriptive prose is often truly beautiful: “It was as if the harp were a loom, the notes he drew from it a bright thread forming a glorious pattern….his large strong hands could draw forth a breadth of sound that one did not generally associate with the gentle harp. He could make it speak with a thousand voices, soft or stormy” and “His face – his beautiful face – was sunken and scored with lines, the hollows beneath his cheekbones scooped out as if a sculptor had driven his thumbs too deeply into the clay” are two examples.

Passages like “It was the kind of thing that corrodes, like a drop of lye fallen upon linen. You don’t see the effect at first, but in time the fibers weaken and fray, a hole widens, and the garment is spoiled. Only if the drop is washed away directly can the damage be gainsaid” and “… the timbre of David’s voice was a thing apart. It had the tingling urgency of the shofar, and yet was not shrill. It could engender awe, as a high wind howling dangerously through mighty branches, or bring delight, as an unexpected trill of sweet birdsong” make this work of historical fiction a joy to read. Once again, Brooks does not disappoint.
With thanks to TheReadingRoom and Hachette Australia for this copy to read and review