Shadowsong (Wintersong #2)

Shadowsong (Wintersong #2)

S. Jae-Jones



For the monstrous, and those who love us





AUTHOR’S NOTE

All books are mirrors of the author in some way or another, and Liesl’s journey to the Underground and back perhaps reveals more about me than I first realized. If Wintersong was my bright mirror, reflecting all my wish-fulfillment dreams about having my voice recognized and valued, then Shadowsong is my dark one, showing me how all the monstrous parts of the Underground were really another facet of me.

I would like to offer up a content note: Shadowsong contains characters who deal with self-harm, addiction, reckless behaviors, and suicidal ideation. If these subjects are triggering or otherwise upsetting to you, please proceed with caution. If you are struggling with suicidal thoughts, please know that there are resources and people who can assist you at the Samaritans, 116-123. Please call. You are not alone.

In many ways, Shadowsong is a far more personal work than its predecessor. I have been open and candid about writing Liesl as a person with bipolar disorder—much like her creator—but in Wintersong, I kept her diagnosis at arm’s length. Part of that is due to the fact that bipolar disorder as a diagnosis wasn’t really understood during the time in which she lived, and part of it is due to the fact that I did not want to face her—and therefore my—particular sort of madness.

Madness is a strange word. It encompasses any sort of behavior or thought pattern that deviates from the norm, not just mental illness. I, like Liesl, am a functioning member of society, but our mental illnesses make us mad. They make us arrogant, moody, selfish, and reckless. They make us destructive, to both ourselves and to those we love. We are not easy to love, Liesl and I, and I did not want to face that ugly truth.

And the truth is ugly. Liesl and Josef reflect both the manic and melancholic parts of myself, and they are dark, grotesque, messy, and painful. And while there are books that offer up prettier pictures, windows into a world in which things are healthy and whole, Shadowsong is not one of them. I kept the monster at bay in my first book; I would claim it as my own for my second.

Again I leave you with the phone number for the Samaritans, 116-123. There is no need to suffer alone. I see your monstrosity. I am not afraid. I have faced my own demons, but not alone. I had help.


116-123.





Remember me when I am gone away,

Gone far away into the silent land;

When you can no more hold me by the hand, Nor I half turn to go yet turning stay.

Remember me when no more day by day

You tell me of our future that you plann’d: Only remember me; you understand

It will be late to counsel then or pray.

Yet if you should forget me for a while And afterwards remember, do not grieve: For if the darkness and corruption leave A vestige of the thoughts that once I had, Better by far you should forget and smile Than that you should remember and be sad.



– CHRISTINA ROSSETTI, Remember





To Franz Josef Johannes Gottlieb Vogler care of Master Antonius

Paris

My dearest Sepperl,

They say it rained on the day Mozart died.

God must see fit to cry on the days of musicians’ funerals, for it was pissing buckets when we laid Papa to rest in the church cemetery. The priest said his prayers over our father’s body with uncharacteristic swiftness, eager to get away from the wet and the muck and the sludge. The only other mourners aside from family were Papa’s associates from the tavern, there and gone when they realized no wake was to be held.

Where were you, mein Brüderchen? Where are you?

Our father left us quite a legacy, Sepp—of music, yes, but mostly of debt. Mother and I have been over our accounts again and again, trying to reconcile what we owe and what we can earn. We struggle to keep from drowning, to keep our heads above water while the inn slowly drags us down to oblivion. Our margins are tight, our purses even tighter.

At least we managed to scrape together enough to bury Papa in a proper plot on church grounds. At least Papa’s bones would be laid to rest alongside his forefathers, instead of being consigned to a pauper’s grave outside town. At least, at least, at least.

I wish you had been there, Sepp. You should have been there.

Why so silent?

Six months gone and no word from you. Do my letters reach you just one stop, one city, one day after you leave for your next performance on tour? Is that why you haven’t replied? Do you know that Papa is dead? That K?the has broken off her engagement to Hans? That Constanze grows stranger and more eccentric by the day, that Mother—stoic, steadfast, unsentimental Mother—weeps when she thinks we cannot see? Or is your silence to punish me, for the months I spent unreachable and Underground?

My love, I am sorry. If I could write a thousand songs, a thousand words, I would tell you in each and every one how sorry I am that I broke my promise to you. We promised that distance wouldn’t make a difference to us. We promised we would write each other letters. We promised we would share our music with each other in paper, in ink, and in blood. I broke those promises. I can only hope you will forgive me. I have so much to share, Sepp. So much I want you to hear.

Please write soon. We miss you. Mother misses you, K?the misses you, Constanze misses you, but it is I who miss you most of all.


Your ever-loving sister,

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