Craig Boyko

“The “song” (he felt the word’s inadequacy, but knew no other word for it) had taken on for him all the significance of a historical, even a revolutionary event. He wondered how its existence had never been celebrated, or indeed mentioned in the newspapers. The music itself seemed to invite, even demand, a revolutionary interpretation. Not just in the sheer immensity of its sounds, the tremendous, earth-shaking importance asserted in its whispers and crashes, but in its progression, the very arrangement of its notes. The song began with trilling ups and downs that surely signified the fermenting, but disorganized, dissatisfaction of the pre-revolutionary proletariat; then, as though from afar, there entered for the first time the major melody, the sad but uplifting theme that came in to give sudden coherence, order, and direction to the impotent turmoil; and eventually, after a few unforeseen deviations, interruptions, and delays that could only signify the War itself, the rising and falling turmoil dropped entirely away, and only the theme remained, stronger and clearer than ever. And”
― Craig Boyko, Blackouts