Note: In honor of the official publication of Donna Tartt’s The Goldfinch tomorrow, I though it would be fun and fitting to re-post this soundtrack for The Secret History that I originally posted March 3, 2009. I’ve also updated the post below to include a link to the soundtrack in Spotify. Happy listening!
Several weeks ago I came across a post on American Bibliophile that challenged readers to create a soundtrack for their favorite books. Immediately this was something I wanted to do, but little did I realize how difficult it might be. First, which book should I pick? I have many favorite novels: Plainsong, All My Friends Are Going to Be Strangers, The Bright Forever, Franny and Zooey, and Rabbit, Run, just to name a very few. I finally settled on The Secret History because I had certain songs I associated with that book from the very first time I read it. Still, that brought up another dilemma: What sort of soundtrack should I create? Should I stick to a certain time period (i.e., if the song wasn’t around when the book was published, should I be allowed to use it?) or to a certain mood? Should I create it as though it were a movie soundtrack or pick songs for each of the characters?
After thinking about it for well over a week, I decided to go with the mood (and songs that were around when or before the book was published), following the chronology of events in the book. Without further ado, I present for you my soundtrack for The Secret History. I hope you enjoy it! In fact, I hope you’ll join the challenge!
Updated: I’ve created this playlist in Spotify. You can listen to it here.
“Blue Bell Knoll” – The Cocteau Twins. This song has opens with an ethereal beginning and moves into a swirling, windswept feel that grows in intensity through the end of the song. I think it fits the opening of the book, where Richard first quietly reveals Bunny’s murder and then backtracks to tell us the story of how he decided to go to Hampden College.
“The snow in the mountains was melting and Bunny had been dead for several weeks before we came to understand the gravity of the situation.” (Note: This is NOT a spoiler; it’s the first sentence of the book.)
“Those first days before classes started I spent alone in my whitewashed room, in the bright meadows of Hampden. And I was happy in those first few days as really I’d never been before, roaming like a sleepwalker, stunned and drunk with beauty. A group of red-cheeked girls playing soccer, ponytails flying, their shouts and laughter carrying faintly over the velvety, twilit field. Trees creaking with apples, fallen apples red on the grass beneath, the heavy sweet smell of them rotting on the ground and the steady thrumming of wasps around them. Commons clock tower: ivied brick, white spire, spellbound in the hazy distance. The shock of first seeing a birch tree at night, rising up in the dark as cool and slim as a ghost. And the nights, bigger than imagining: black and gusty and enormous, disordered and wild with stars.”
“Three to Get Ready” – Dave Brubeck Quartet. This neat little jazz number makes me think of Richard watching the other Greek students on campus, and going to visit Julian, and realizing he wants to be a part of their world (as he imagines it). This song has the feeling of dappled sunlight and late fall afternoons, where there’s still a bit of warmth in the air, and everything in the world feels like a possibility.
“And what did I do in Hampden town? Frankly, I was too staggered by my good fortune to do much of anything. It was a glorious day; I was sick of being poor, so, before I thought the better of it, I went into an expensive men’s shop on the square and bought a couple of shirts. Then I went down to the Salvation Army and poked around in bins for a while and found a Harris tweed overcoat and a pair of brown wingtips that fit me, also some cufflinks and a funny old tie that had pictures of men hunting deer on it. When I came out of the store I was happy to find that I still had nearly a hundred dollars. Should I go to the bookstore? To the movies? Buy a bottle of Scotch? In the end, I was so swarmed by the great flock of possibilities drifted up murmuring and smiling to crowd about me on the bright autumn sidewalk that–like a farm boy flustered by a bevy of prostitutes–I brushed right through them, to the pay phone on the corner, to call a cab to take me to school.
Once in my room, I spread the clothes on my bed. The cufflinks were beaten up and had someone else’s initials on them, but they looked like real gold, glinting in the drowsy autumn sun which poured through the window and soaked in yellow pools on the oak floor–voluptuous, rich, intoxicating.”
“Symphony No. 4 in C Minor (‘Tragic’), D. 417: Adante” – Franz Schubert. This piece is so pretty, but it has an undertone of melancholy that befits this section. The time during fall leading up to Christmas, when Richard spends weekends with the others at Francis’s family home in the country, is the most idyllic time for Richard, but he’s already told us it’s not to last.
“It was dark and I couldn’t see a thing. My fingers finally closed on the door handle and only then, as I was climbing out of the car, the moon came out from behind a cloud and I saw the house. It was tremendous. I saw, in sharp, ink-black silhouette against the sky, turrets and pikes, a widow’s walk.”
“Prior to this first weekend in the country, my recollections of that fall are distant and blurry: from here on out, they come into a sharp, delightful focus. It is here that the stilted mannequins of my initial acquaintance begin to yawn and stretch and come to life. It was months before the gloss and mystery of newness, which kept me from seeing them with much objectivity, would wear entirely off…”
“The weekends at Francis’s house were the happiest times. The trees turned early that fall but the days stayed warm well into October, and in the country we spent most of our time outside. Apart from the occasional, half-hearted game of tennis…we never did anything very athletic; something about the place inspired a magnificent laziness I hadn’t known since childhood.”
“Road, River, and Rail” – The Cocteau Twins. This is one of the songs I’ve always associated with this book, mainly because the mood of the song fits so well (one good thing about The Cocteau Twins, half the time it’s impossible to know what she’s singing about, so no other meaning imposes itself on the song). Christmas break is approaching, the others are leaving, and Richard has nowhere to go, so he finds a place to stay in Hampden. This song evokes for me the feelings I think Richard has, being left behind.
“The last week of school was a flurry of packing, typing, plane reservations and phone calls home, for everybody but me. I had no need to finish my papers early because I had nowhere to go; I could pack at my leisure, after the dorms were empty.”
“I stood in the deserted street until I could no longer hear the sound of the motor, only the hiss of the powdery snow that the wind kicked up in little eddies on the ground. Then I started back to campus, hands deep in pockets and the crunch of my feet unbearably loud. The dorms were black and silent, and the big parking lot behind the tennis court was empty except for a few faculty cars and a lone green truck from Maintenance. In the dorm the hallways were littered with shoe boxes and coat hangers, doors ajar, everything dark and quiet as the grave.”
“Shipbuilding” – Elvis Costello. Without giving too much away, I’ll just say I picked this song because of the mood, and also because the whole idea of rumors and half-truths reflects the confusion Richard feels about what’s happening in his circle of friends. The ease that existed before Christmas has been replaced by a tension that cannot long be contained.
“I suppose if I had a moment of doubt at all it was then, as I stood in that cold, eerie stairwell looking back at the apartment from which I had come. Who were these people? How well did I know them? Could I trust any of them, really, when it came right down to it? Why, of all people, had they chosen to tell me?
It’s funny, thinking back on it now, I realize that this particular point in time, as I stood there blinking in the deserted hall, was the one point at which I might have chosen to do something very different from what I actually did.”
“Bunny, for all his appearance of amiable, callous stability, was actually a wildly erratic character…He sailed through the world guided only by the dim lights of impulse and habit, confident that his course would throw up no obstacles so large that they could not be plowed over with sheer force of momentum. But his instincts had failed him in the new set of circumstances presented…Now that the old trusted channel markers had, so to speak, been rearranged in the dark, the automatic pilot mechanism by which his psyche navigated was useless; decks awash, he floundered aimlessly, running on sandbars, veering off in all sorts of bizarre directions.”
“The Pan Piper” – Miles Davis. This song has the perfect sort of eerie feeling of being in the woods in the early spring: the dark, wet trees; the damp, musty earth. Richard and the others are in the woods to execute part of their plan to kill Bunny, when he happens upon them and fate takes its course.
“The woods were deathly still, more forbidding than I had ever seen them–green and black and stagnant, dark with the smells of mud and rot. There was no wind; no bird sang, not a leaf stirred. The dogwood blossoms were poised, white and surreal against the darkening sky, the heavy air.”
“Love Will Tear Us Apart” – Joy Division/ “True Faith” – New Order. I picked these songs for the sections where Richard and his friends are waiting for Bunny to be discovered, for the truth to be revealed–and once it is revealed, for the funeral. As time passes, they grow more irritable and unsure of each other.
“After what we’d been through in the previous weeks, it was no wonder we were all a little sick of one another. For the first few days we stayed pretty much to ourselves, except in class and in the dining halls; with Bun dead and buried, I suppose, there was much less to talk about, and no reason to stay up until four in the morning.”
“Phantasiestucke (Three Fantasy Pieces). Op. 73” – Robert Schumann. This longer piece works well as the group unravels further, as each person deals with the consequences of the murder.
“I was still trying to force back the blackest thought of all; the merest suggestion of it sent the rat’s feet of panic skittering up my spine. Had Henry intended to make me the patsy if his plan had fallen through? …so much of what I knew was only secondhand, so much of it was only what he’d told me; there was an awful lot, when you got right down to it, that I didn’t even know…I knew, from television, that there was no statute of limitations on murder. New evidence discovered. The case reopened. You read about these things all the time.”
“Mother of Pearl’ – Roxy Music. If I were making this soundtrack for a movie, I would edit out the first minute and thirty seconds to get to the heart of this song, which has the feeling of a fine party that has ended, a melancholy idea of what cannot be sustained: “I’ve been looking for something I’ve always wanted but was never mine/But now I see that something just out of reach growing very Holy Grail…” Many years later, Richard goes to meet with a few friends from that time, and finds it wrenching to part:
“Raindrops on the windshield, radio stations fading in and out. Cornfields bleak in all those gray, wide-open reaches. I had said goodbye to her once before, but it took everything I had to say goodbye to her then, again, for the last time, like poor Orpheus turning for a last backward glance at the ghost of his only love and in the same heartbeat losing her forever: hinc illae lacrimae, hence those tears.”