On İki Ölçülük Blues

by Patrick Neate, Emrah İmre (Translator), Beste Doğan (Illustrator, Cover design)

Patrick Neate'in, 2001'de Whitbread ödülü kazanan romanı On İki Ölçülük Blues, üç kıtaya ve iki yüzyıla yayılan bir hikâyenin kapısını aralıyor.

New Orleans, yirminci yüzyılın başları... Lick Holden kornetiyle ortalığı kasıp kavuruyor. Yıllar önce büyükbüyükbabasının şarkılarıyla Afrika'nın kayıp krallığı Zimindo'yu kasıp kavurduğu gibi. Hikâyenin üçüncü ve son ayağında da emekli İngiliz fahişe Sylvia var: Lousiana'da geçmişini ararken bugününü bulan Sylvia.

"Ona göre hayat bir nota sayfası, insanlar da notalar gibiydi. Lick ise nota okumayı bilmiyordu, öğrenmeyecekti de. Fate Marable'ın orkestrasına da katılmayacaktı. Ama kafasının içinde kıpır kıpır çalan cazı duyabiliyordu; sürekli tekrarlanan bir tema vardı, en beklenmeyen anda yeniden başa dönüyor ve farklı enstürmanlarla, farklı perdelerden yeniden çalınıyordu."

Genres: Fiction, Music, Historical Fiction, Historical, Contemporary, Africa, Novels

328 pages, Paperback

First published May 1, 2001

Reviews

[Karin · Rating 4 out of 5]

Although at first I thought this was going to be a five star book and it won the Whitbread Fiction Prize, it ended up being a four star read for me, but was still very good.

This story is structured like a 12 bar blues (twice) with a prelude and a coda. Although most of it is set in the early and late in twentieth century, some of it is much, much earlier. It's a true blues story; poignantly tragic with some beauty interspersed here and there, and a story involving fate, tragedy and sorrow. It is set in Africa, New Orleans with smatterings of things in England, New York and Chicago. It interweaves the history of the origins of jazz in much of the part of the story about Fortis (aka Lick) and even includes some fictional scenes with some real jazz legends. It involves witch doctors, chieftains, prostitutes, singers, pimps, and of course Lick with his cornet. But his nickname doesn’t necessarily arise from where you think it might.

Given that this was Patrick Neate's debut novel, I think it’s possible that he has written better novels following it. Whether or not I read them won’t depend on whether or not he can write; he certainly can. Rather, it will depend upon whether or not they are all as tragic as this one.

Recommended.

[Odessa · Rating 4 out of 5]

"let me tell you three things about stories because there ain't nothin' so damn complicated as a story (except the jazz and I's not stupid enough to think you understand that any).

..."There ain't no story so important as the one you tells about yourself. Because everybody got their own story don't they?"

"no story set in stone...An' that's why I ain't never written no book because them pages ain't nothin' but a prison an' that's somethin' only black folk understand. An' that's why true jazz don't live in no music book or on no compact disc. It live in your head an' your chops an' your heart an' your sex...If a story don't change any, then it probably ain't worth hearin'."

"An' another thing. If them pages restrict a story, then there ain't nothin' restrict it so bad as your own mind."

"stories don't have no beginning, middle an end...Fact is that stories have a vibe jus' like love."

"...don't restrict the untold story of a flawed hero to one meagre adjective. Please. Because the tale of Toothless Naps is the coda to the most beautiful twelve bar blues that Lick Holden ever played and it fills our guts with an emptiness to swell souls. And the horn hits that final note and it flattens it blue. And the song is ever incomplete and it leaves us wanting more."

[Emily · Rating 2 out of 5]

so far? preachy and weird. but i love new orleans music so i'm not going to stop reading it yet ...

... didn't stop reading it, and the preachiness never went away for me. i got so irritated at one point that i decided to underline every effusive and unnecessary simile and metaphor. gave up after a page, realising i'd set myself quite the arduous task.

another arduous task i've recently set myself: writing about the blues in new orleans. i do know how difficult it is to do well, so fair play to him ... to a point.

[Chris Cox · Rating 3 out of 5]

This book could have been much better if Patrick Neate stopped trying to be so profoundly wise and clever all the time, and even better still if he actually *met* a girl before trying to write one as a main character. He writes as if he is a bit smug and arrogant.

Pros: Love the theme / topic overall, and enjoyed Lick Holden's story, and Sylvie's family history. Love jazz and blues, love the scene-setting in the Louisiana honkytonks and I like the main people in the story.

Cons: 1. Sylvie was 45, and he (as well as older characters) kept referring to her as though she was virtually an old lady / over the hill. 2. Jim's character was entirely devoid of purpose. 3. The African anecdotes were confusing and vague, and he must have used about a hundred traditional African words or phrases out of context, without a hint as to what he was referring. 4. Neate writes like a pure SEXIST who was put on this earth to educate we the mortals as to what "all women are like" and what all men feel. I got a vibe I wouldn't like the author much if we met. 5. The unbelievable convergence of fates when they got to the University and met Musa didn't elicit ANY surprise or shock; this situation would have warranted at least a "WTF?!?" in our characters.

Bleh, I only just managed to get to the end of this book; if a friend hadn't loaned it awaiting my opinion, I wouldn't have finished it at all. It was OK at best.

[Mo · Rating 5 out of 5]

I'm not much in the way of a reviewer but...this is by far one of my favorite reads!

my words simply wont do it justice...I've been sat here trying to think up a sentence that would begin to show the spectrum of colours that splatter across your mind when you envision this world. the sand of africa; the sheen from the oil stained streets of soho; the vibrancy of each passing cab on the streets of NY as it nearly drags you off the side walk; each lump and bruise at the hands of cowardly men and monsters that have grown in all these places over centuries to now straddle over each character, pinning them down and saying you'll never see the sun again!!!! The soft kisses and tantalising whispers of some unknown voice pulling you towards some unkown..and finally...

...read it...i think those are the best words i can use.

[Kaptan HUK · Rating 5 out of 5]

Kırmızı Bölge
Emrah İmre'nin huzurunda saygıyla eğiliyor, ellerinden öpüyorum.
Caz yazmış bu kitabı. " Buyur anlamadım kim yazdı dediniz?" Caz yazdı. " İyi ama kapakta... " Uzatma ne diyorsak o! Bazen oluyor, dans ederken dansın kendisi olursun, şarkı söylerken şarkı olursun. Patrick Neate de cazmış ki, On iki Ölçülük Blues gibi tanımlanamaz bir romanı yazabiliyor. " Sonuçta caz kitabı mı bu şimdi?" Hayır hayır romanın bir iki sahne dışında cazla neredeyse hiç alakası yok. Lick'in kornet çalması, Sylvia'nın caz söylemesi bu romanı caz kitabı yapmaz. Caz durumlarını anlatan bir roman değil bu. "Caza gıcık arkadaşlar var, onlar da okuyabilirler diyorsun" Tabii tabii, caza gıcık arkadaşlar gönül rahatlığıyla okuyabilirler. Baş döndürücü tempoda zenci hikayeleri anlatılıyor. Acıklı hüzünlü zenci hikayeleri. Lick Holden telafi edilemez acılarını kornetini üfleyerek dindiriyor, Sylvia da öldürülmüş hayatına caz şarkıları söyleyerek ağıt yakıyor. Afrika'da şef Tongo'nun Amerikalı karısı Kudzai arasında geçen hikaye, büyücü Musa, arkeolog Pink, pezevenk Nads... Böyle bir sürü fenomenin hikayesini kronolojiye bağlı kalmadan anlatılıyor, tıpkı caz gibi. "Şu caz konusuna kafam takıldı. Biraz açar mısın? Caz gibi yazmak ne demek mesela?" Caz başı sonu belli olmayan, ele avuca sığmayan, dolayısıyla tanımlanamayan demek. Roman boyunca farklı zamanlarda farklı kıtalara şehirlere ve mekanlara savrulup duruyoruz. 1790 yılının Afrika Zambawi'sinden başlayıp 1899,1907,1908, 1912,1915... yılları Louisiana'sına, ordan 1998 yılı Zambawi'sinden 1998 Londra Soho'ya, burdan 1998 yılı New York Manhattan'a, 1968 yılı Londra... Yoruldum. New Orleans da var. Şikago'yu unuttun! Sylvia yanında sarhoş Jim'le Şikago'ya geliyorlar. Kenar mahallede bir kiliseye gidiyorlar. Kaldırıma daha adımlarını atar atmaz etrafları silahlı bıçaklı serseriler sarılıyor. Ulan salak, ne işin var orda! Üstelik taksici uyardı, ısrarla hem de. Burası kırmızı bölge, taksiden inerseniz hayatınız tehlikeye girer. Sersemler sizi! Sarhoşla takılırsan böyle olur işte. Sylvia sana diyom kız! "Kaptan Huk iyi misin?"İşte bütün bu şehirlere farklı zamanlarda dizilime bağlı kalmadan savruluyoruz. Caz tahmin edilemeyen demektir. (Kitaplarda yazmaz, not al bu dediklerimi. Zenciler tarlada şarkı söylüyormuş da, böylece caz doğmuş da... Sıkılmadın mı bu ezberlerden?) Karakterleri ve durumlarını tahmin edemiyorsun. Aha öpüşecekler diyorsun tokat atıyorlar. Kavga edecekler diyorsun sevişiyorlar. İşler yoluna girdi diyorsun bulutlar kararıyor. Hikayenin sonuna geldik diyorsun yeniden başlıyor. Hiçbir şeyi tahmin edemiyorsun. Caz büyü demek. On iki Ölçülük Blues aynı zamanda büyü ve gizemin romanıdır. Cevabını bilemediğim bir sürü soru bıraktım romanda. Dünya kadar çocuğuyla aç susuz yaşayan Kayenne'nin evinde kan bağı olmadığı halde minik Sylvia'nın ne işi vardı? Sylvia'nın peşine takılan Jim kim? Arkeolog Pink'in kazıda bulduğu başlığın anlamı? Böyle birkaç soruyu romanda bıraktım. Çünkü biliyorum ki anlama çabası bu tarz kitaplarda işleri bozar, büyüğü bozar. Şu yaşıma geldim şarkı sözlerinin anlamlarını bilmem. Evet başka soru var mı? "Romanın konusundan bahsetmedik. Roman sence neyi anlatıyor? Heyyy, nereye gidiyorsun?"

[Joe · Rating 3 out of 5]

This one took me a long time. I'm not saying that the myriad scene shifts, location jumps, and time travels had anything to do with that, but it didn't make it seem essential to keep focused on the finale, if there was ever really going to be one, that is.
New Orleans, Africa, Chicago, London, all in different times, all with a continuous meta-physical, mystical thread that keep Sylvia di Napolli, trying to find out why she's, well, black. Her family isn't black. At least the ones she knows about. Ah, introducing the African zakulu (witch doctor) who is going to tell her everything she wants/doesn't want to know about her past/destiny.
The narrative jumps back and forth between a very gritty New Orleans, when it was busiest giving birth to, even grittier, jazz. Lick Holden, the best horn man you never heard of, might just be in Sylvie's past, he might just be her destiny. Or, the skinny white guy that helps take Sylvie from walking London's streets (literally) to uncovering her future as the daughter of... well.. you'll see.
As I mentioned, it's a little hard to focus, when there are some really severe shifts in the basic structure of the narrative. Others have mentioned the sudden change to a jive-like tone, without a real reason. The African settings were told in a way that you weren't quite sure, at first, when they were happening, and then they were almost dismissed.
All of that being said, I guess the fact that I kept coming back, says something. There were passages, especially the descriptions of the New Orleans of that time, that were riveting. Nuance, might have been a little overdone, but some scenes were set very nicely.

[Caroline · Rating 4 out of 5]

A journey of identity and tracing roots takes us through Africa, New Orleans and New York amidst in an environment of music and cultural insights.

There were teasing references to some of the jazz greats and it was a nice musical journey from Africa to New Orleans. While the story starts with 2 best friends and a woman they both loved in 18th century Africa, the journeys their descendants take introduce us to the budding jazz movement and beyond. Unfolding the branches of the family trees through the generations and unraveling how they each descended from the 3 original Africans in the midst of all the music and tribal magic kept me turning the pages.

I would have liked more details rather than passing references to Louis Armstrong, Kid Ory, King Oliver, and Fate Marable, but that would be my only criticism of this book.

[David · Rating 4 out of 5]

This is a journey over time and distance, from Africa to new Orleans and onto London. It felt like a pure historical novel to start but the supernatural/ spiritual element pulled then disparate parts of the story into a whole. A book that pulled you along and kept you wondering.

[Claire Yesruf · Rating 4 out of 5]

Quite a journey!

[Fatma · Rating 4 out of 5]

“ Korneti adam gibi calmak istiyorsan, vucdunun dort kismiyla calacaksin. Kafan, dudaklarin, kalbin ve gercek ask ile” Lick Holden in hikayesi ( jazz ve blues) “erkeklerin kaderinde olum, kadinlarinkindeyse yasam vardir”

[Kevin Albrecht · Rating 4 out of 5]

A story that spans centuries, continents, musical styles, and cultural experiences: I've never read a book quite like this before.

Have you ever heard the advice to writers of fiction from Hemingway to always write what is true? Though I thought I understood that when I first heard that advice, I really didn't. But if any book epitomizes this advice, it is this one.

Twelve Bar Blues has so much in it that is unbelievable, but feels so completely real that those unbelievable parts are made more believable than most nonfiction. Ecstatic musical experiences, explicit sex, racist slurs, inescapable poverty, gut turning smells-- everything feels so true that you can't help being utterly repulsed by what happens at the same time that you can't stop reading it.

[Becky · Rating 4 out of 5]

A gorgeous read with charming likable characters who are all in search of themselves or their destinies. The way Neate intertwines the stories of characters from different countries and cultures is fascinating. The shamanic elements and the humour allowed the difficult subjects to be dealt with in a fresh and light-hearted way, which worked for me.

[Natalie · Rating 3 out of 5]

A reet rollickin' read - a little too heavy with its own self-regard and mythologising but worth a go. The most unconvincing character is the author's avatar the big-heatred white-boy drifter.

[Jonathan Gruber · Rating 4 out of 5]

Wonderful tale that spans generations and continents. The parts that were focused on the 20th century were outstanding and 5 star worthy. The parts in Africa were a little less solid.

[Demetra Stavridou · Rating 4 out of 5]

Αποσπάσματα από μία παρουσίαση του βιβλίου που είχα κάνει παλιότερα εδώ
https://www.kefalonitikanea.gr/2017/0...

[...]
Ακούω μουσική. Αυτές είναι οι πρώτες λέξεις που μου έρχονται στο μυαλό όταν σκέφτομαι το βραβευμένο με Whitbread μυθιστόρημα «Τα μπλουζ του έρωτα και του θανάτου» του Πάτρικ Νιτ. Ακούω νότες, ακούω τρομπέτες και σαξόφωνα, ακούω ουρλιαχτά στις φτωχογειτονιές αλλά και δάκρυα που πέφτουν παρηγορητικά πάνω σε πληγές.

Το βιβλίο ξεκινά με μία εισαγωγή όπου διαβάζουμε μια παραδοσιακή ιστορία της Αφρικής που συνδέει το θρύλο με την υπόλοιπη αφήγηση και λειτουργεί ως αφορμή για να μπούμε στον κόσμο του Λικ Χόλντεν. Ο Λικ, το όγδοο παιδί της πόρνης Καγιέν, μεγαλώνει στο Κουλτάουν της Νέας Ορλεάνης στις αρχές του περασμένου αιώνα.

Στο σπίτι εκτός από την Καγιέν, υπάρχει η γιαγιά Μάμα Λούσι και τα υπόλοιπα επτά αδέρφια, ή τουλάχιστον όσα από αυτά καταφέρνουν να επιβιώσουν από τις αρρώστιες, τη βία και τη φτώχεια. Ο πρωταγωνιστής μας, ο Λικ, μέχρι να κλείσει τα οκτώ, έχει ήδη δοκιμάσει τα τριών ειδών χειρότερα μπλεξίματα που μπορούσε να έχει ένας μαύρος στο Κουλτάουν: το πρώτο ήταν το μπλέξιμο με τους λευκούς, οι οποίοι δε διστάζουν να ξυλοκοπήσουν ανελέητα κάποιον νεαρό μαύρο που «στραβοκοίταξε έναν λευκό κύριο ή που άφησε το καροτσάκι του έξω από λάθος κατάστημα». Το δεύτερο ήταν «με κάποιον της φάρας του»: η κλοπή ενός πορτοκαλιού από έναν πάγκο ήταν αρκετή για να δεχτεί ο μικρός τη λάμα του εμπόρου στο πρόσωπό του. Ως εκ τούτου, όλα τα μαύρα παιδιά του Κουλτάουν συμφωνούσαν ότι το τρίτο μπλέξιμο, το μπλέξιμο με το νόμο, ήταν προτιμότερο απ’ όλα. Ο Λικ βρέθηκε κλεισμένος στο Διπλό Μ, το διαβόητο αναμορφωτήριο του Μάουντ Μάρτερ της Λουιζιάνα στα εννιά του χρόνια. Εκεί, εκτός από τις δύο κάστες του Διπλού Μ, τα Στραβάδια και τις Σιδερογροθιές, ο Λικ γνωρίζει ακόμα καλύτερα τη βία αλλά και τη μουσική: την καυτή, μαύρη μουσική που ξεχύνεται από την κορνέτα του.

Ένα από τα καλύτερα σημεία του βιβλίου είναι η περιγραφή της σκηνής της κηδείας της Καγιέν, δύο εβδομάδες πριν ο Λικ βγει από το αναμορφωτήριο. Στα δώδεκά του χρόνια είχε ήδη παίξει μουσική σε αρκετές κηδείες με την ορχήστρα του Διπλού Μ, όταν όμως παίρνει άδεια για να παραστεί στην κηδεία της μητέρας του, τότε ο θρήνος που δεν είχε εκφραστεί ποτέ με δάκρυα και φωνές, βγαίνει από τα χείλη του με τη μορφή μιας καθηλωτικής μουσικής που συγκλονίζει τους παρισταμένους και κάνει τον αναγνώστη ν’ ακούει κάθε νότα πεντακάθαρα:

«Το κόρνο του δε φάνηκε ποτέ άλλοτε τόσο άγριο και πρόθυμο, πονεμένο και ανεπιτήδευτο. Καθώς έπαιζε, κοίταζε τα άλλα μέλη της ορχήστρας του Διπλού Μ, και κανείς τους δε μπορούσε να τον ακολουθήσει. Περιορίζονταν να τον κοιτάζουν, με τα πρόσωπά τους συσπασμένα σ’ όλων των ειδών τις εκφράσεις. Κοίταξε και το συγκεντρωμένο πλήθος. […] Η ματιά του διέκρινε την Μπιγκ Άνι στη μέση του πλήθους. Τα μάγουλά της αυλακώνονταν από δάκρυα. Ήταν εκεί και η γριά Μαμά Λούσι, καθισμένη σ’ ένα αναποδογυρισμένο καφάσι, με το κεφάλι της χωμένο στα φουστάνια της. Έπαιζε λες και η κάθε νότα ήταν η φωνή της ίδιας της Καγιέν. Και τα χάσματα ανάμεσά τους; Ήταν τα κενά που άφηνε ο θάνατος της Καγιέν στη ζωή της οικογένειας και των φίλων της».

[...]

[Mirza Orkun · Rating 4 out of 5]

Müziğin yeraltında kalmış tarihi ve unutulmuş kahramanları üzerine bir roman.
Patrick Neate, blues’un köklerine inerek ırkçılığın, kadın istismarının ve insan hakları ihlallerinin toplum tarafından nasıl yeniden üretildiğini gösteriyor.
Birbirine bağlı hikâyeler, aslında insanların geçmişleri ve gelecekleri arasındaki bağları hatırlatıyor. Louis Armstrong’un “Aşk için yeterince vaktimiz var” sözlerindeki ikilik, romanın ruhuna sinmiş.

Bir enstrümanı çalmak, duygularda uzmanlaşmaya benziyor. Kitaptaki karakterler tanınmak istemiyor ama bir kez duyduğunuzda asla unutamayacağınız melodiler bırakıyorlar. Sylvia’nın bir zamanlar Sylvie oluşu gibi, kimliğin değişen ama hatırlanan yüzleri var.

İnsanlar birbirine zarar verebilir, ama çoğu zaman bunun ardında kendi geçmişlerinin gölgeleri vardır. Her birimiz bir başkasının hikâyesinde kötü adam ya da kötü kadın olmak zorunda değiliz.
Romanı okurken Naps’e üzülecek, arka sokakların pezevenkleri ve fahişelerinin dünya müzik tarihine nasıl iz bıraktığını gördüğünüzde ise şaşıracaksınız.

Patrick Neate, blues’un acılarını, sokaklarını ve kahramanlarını unutulmaz bir anlatıya dönüştürüyor

A novel about the underground history of music and its forgotten heroes.
Patrick Neate dives deep into the roots of blues, showing how racism, human rights violations, and the exploitation of women are perpetuated by society itself.
The interconnected stories remind us of how people’s past and future are bound together. Louis Armstrong once said, “We have all the time in the world for love,” and that duality runs through the heart of this book.

Playing an instrument is like mastering emotions. The characters may not want recognition, but they leave behind melodies you’ll never forget. Just like Sylvia once being Sylvie, identities shift but remain etched in memory.

People hurt each other, yet behind that pain lie their own hidden pasts. None of us has to be the villain in someone else’s story.
Reading this, you may feel sorrow for Naps, and you’ll be surprised at how pimps and prostitutes of the backstreets contributed to the history of world music.

Patrick Neate turns the suffering, streets, and heroes of blues into an unforgettable narrative.

[Enis · Rating 5 out of 5]

müziğin yeraltında kalmış tarihiyle onun ismi unutulmuş kahramanları hakkında bir roman. ırkçılığın insan haklarının kadın istismarının toplum tarafından oluşturulduğunun bir göstergesi. bir çok hikaye birbiriyle bağlantılı, tıpkı insanların geçmişlerinin ve geleceklerinin birbiriyle bağlantılı olması gibi. Louis Armstrong'la kim çaldı? Ne dedi Louis "aşk için yeterince vaktimiz var." bu şarkı sözündeki ikililik. bir enstrümanı çalmak duygular konusunda uzmanlaşmaya benziyor, tanınmak istemiyor bu çalış, Lick'i hatırlayacaksınız, Sylvia'nın isminin bir zamanlar Sylvie oluşu gibi. İnsanlar birbirlerine zarar verecekler ama aslında hikayenin geri planındaki geçmişleri yol açacak buna. Her birimiz bir diğerinin hikayesindeki kötü adam ya da kötü kadın olmak zorunda değiliz. Patrcik Neate hikayeyi anlatacak Naps'e üzüleceksiniz belki, arka sokak pezevenkleri ve fahişelerinin dünya müzik tarihine kattıklarını öğrendiğinizde de şaşıracaksınız.

[Megan · Rating 3 out of 5]

This book won the 2001 Whitbread/Costa prize. I don't begrudge the author for winning, nor the committee for voting for it. This review would have been rated a lot lower if the author couldn't write a compelling phrase or engaging story.

I had major issues though.

The introduction to Sylvia is when I started to wonder if Neate would be a good candidate for the "men writing women" twitter thread/subreddit. No one, not even the author, could figure out if she was still an object of sexual desire or plain too old to be a prostitute (and therefore not an object of sexual desire?). More than one non-prostitute female character was introduced in a comical way that made fun of the character more than made me laugh (the chief's wife's monkey ears, Bunmi's rejection of her "slave name" while having issues with slang of a non-native tongue). The fact that I had to clarify that there is more than one non-prostitute female character at all.

I did really like's Lick's story, though, and the 1910s/1920s New Orleans setting. That was enough to keep me going through the story and to rate the overall book as highly as I did.

[Paul McBride · Rating 5 out of 5]

Not sure what to say about this book.
I bought it in 2002 at Square Books in Oxford Mississippi, and then it sat in the TBR pile until yesterday.
The book starts in Africa in the mid 1700’s
Jumps to New Orleans in the beginning of the 20th century, then London, New York, Chicago and New Orleans 1998. Then Africa 1998, then back and forth between these times.
It is part historical fiction but the writing is phenomenal!
I don’t want to explain much of the storyline but it is the birth of jazz, the plight of blacks first as slaves, then just trying to get by in New Orleans past and present, and oddly but refreshing the portions that take place in modern day Africa are unusually funny.
This is a great book.

[Shanie · Rating 4 out of 5]

Twelve Bar Blues is the first book I have read that has prominently black characters! It is a great book of representation and black history!

I would've never thought that this would put me out of my reading slump and I am so happy that I even picked it up at our local book trade event!

The book opened my eyes to prostitution, poverty and most importantly, the racism of the time. I found it saddening and beautiful at the same time. Beautiful for the fact that they have fought all the discrimination they faced.

I also love the fact that it was about the jazz culture in New Orleans. Also, the African culture was an excellent added mix!

I would highly recommend this book to everyone I know! This is a must-read!

[Ron · Rating 3 out of 5]

This is a tough review to write, because I feel some sensibilities regarding 'a white author who took a gap year in Africa writes about the Black experience' have shifted since this book was written. Let's start with the positive: I liked the story about Lick Holden. Even though I have no way to confirm it, it felt authentic enough to the atmosphere that could've been there in the 1920s honkytonks. Lick Holden is alright as a protagonist even if he's a bit flat. The other stories I found less interesting, especially the contrived-feeling way they had to intertwine. All in all, I enjoyed reading this book, but it didn't exactly rock my world.

[Deborah Carter · Rating 4 out of 5]

I loved how the story course between three different time periods, but with parallel characters, so the thread is never lost. And the story was recounted with blues-tinged prose.
It’s an entertaining read, though I would give it 3 1/2 stars, if that were possible.

[Fernando Pestana da Costa · Rating 3 out of 5]

Translation of the English original Twelve Bar Blues. A novel with several interwoven stories spanning three centuries and three continents. A tale of love, hate, magic, jazz, and the quest for one's identity. Good reading!

[Jenny Gessner · Rating 4 out of 5]

Not a book I would normally pick up, but I helplessly fall in love with the description of the jazz culture in New Orleans. Been years since I read it but I can still smell, feel the steamy smoky air in these bars..

[Richard Francis · Rating 5 out of 5]

Just quite honestly - one of the best novels I've ever read.
All of the story lines delightfully complement one another.
Giant of a novel.
Five gold stars - no question!
Read - you won't be disappointed.

[Erik · Rating 4 out of 5]

Characters were interesting but I can’t say they developed much. This book is a “slice of life” story that’s connected through 1920’s - 1990’s.

I didn’t like the ending because I found it anticlimactic with not much change or resolution.

[Emma Hughes · Rating 3 out of 5]

A good story, totally all over the place just like the jazz it represents, but glad I persevered...the language was hard to understand in places which probably says more about me 🤪 shame I'll miss book group's discussion. Looking forward to something more easy going next. 7/10

[Basia Korzeniowska · Rating 4 out of 5]

A romp through the history of jazz, fact and mainly fiction deliciously entwined, funny and moving alternately. I would love to meet the main female protagonist !

[Dicle · Rating 3 out of 5]

İngilizce okunmalı.