Hammerstein sends his assistant, Fran Connelly (a fictional character), to meet with Maria and hopefully assuage her concerns, plus prevent any potential bad press. Maria’s tale then unfolds in the first person, beginning when she, as a postulant at Nonnberg Abbey, was sent to tutor one of the daughters of Baron Georg von Trapp, a war hero and widower. Maria re-introduces his seven children to music and the simple joys of playtime. This aspect doesn’t diverge far from the play and film, but later parts of Maria’s life are a different story.
The Christmas holidays in the von Trapp household are recreated in such idyllic scenes that even the nonreligious will be tempted to book a trip to Salzburg next winter! But the real Maria was a complicated woman, shown here with considerable complexity, who endured physical abuse by a relative as a child. While her ambitions for the family’s singing careers may have saved them, her domineering behavior caused mental anguish for her own children.
Readers will grasp the amusing irony that this is a novel about a woman who resisted being fictionalized. Yet Maria succeeds in presenting a well-rounded, nuanced portrait that draws its information from multiple sources, since no one account (not even Maria’s autobiographies) presents a complete image of her character. It’s a must-read for anyone who loves biographical fiction, and it provides understanding about why The Sound of Music took the fictional liberties that it did.
Maria will be published by Dell on July 30th. Thanks to the publisher for providing me with a copy.
Now I feel I have to read this!
ReplyDeleteIt's definitely worth adding to the TBR!
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