"The Violin Conspiracy" is at its best when the author, Brendan Slocumb, details—in several vivid set pieces—the Black experience, in the world of concert music and in the world in general. It is these parts of the book that are the most memorable, and for which his style (a kind of reportage, with much conversation) is most suitable. It is clear that Slocumb is drawing on his own experiences in these passages. The early pages of the book have fine specifics about playing the violin (probably not understood by most readers), but that dwindles. The prose is serviceable; there is one word—couple— that Slocumb uses frequently. It should be followed by "of": it is a number (2), as is, for example, trio— a trio OF violins. Another word—usualy referred to as the f-word— appears increasingly and near the end of the book, there are several per page. Is this necessary? There is a surprising gaffe from a writer who is a violinist: he writes that it takes an hour to play the Mozart "Turkish" violin concerto (it lasts about half an hour) and an hour to play the Tchaikovsky concerto (it clocks in at about 35 minutes). Music's dimension is time; musicians know accurately how long a work lasts. As to who stole the violin? The reveal is curiously flat, anti-climactic.
Terry L. Price
Consuelo D. Lewis