The Book of Love
The Book of Anabin 1
by Link, KellyIn this reflective chapter of *The Book of Anabin*, the protagonist, Anabin, finds himself alone in a warm, sunlit room after the children have left. Seated before a piano, he begins to play a forgotten melody, a song that was never originally meant for the instrument. As he tentatively recreates the tune, uncertain if it remains the same song, he revisits a piece that once carried both music and words—a song intended to summon a lover. Despite his memory of the lyrics, Anabin chooses not to sing, instead focusing on coaxing the elusive melody from the keys.
The atmosphere is quiet and still, with no interruptions as Anabin plays the song repeatedly. The broken glass in the nearby window subtly hints at a world gradually healing or changing, paralleling the fragmented nature of the music he attempts to reconstruct. The melody itself meanders without resolution, reflecting perhaps Anabin’s own emotional state or the complexity of the memory tied to the song. His deliberate introduction of wrong notes signals a shift, a purposeful disruption meant to provoke a reaction beyond the music.
Anabin’s intuition proves correct when, despite the closed door and solitude, he senses another presence behind him—Bogomil. This haunting figure, marked by physical grime and emotional agony, silently joins Anabin’s playing, their fingers intertwining to complete the song together. The interaction is intimate yet fraught, revealing a deep connection and shared history. Bogomil’s touch lingers lightly on Anabin’s shoulder, conveying unspoken emotions and desires, before vanishing as mysteriously as he appeared.
Concluding the chapter, Anabin confronts the hope that Bogomil embodies, acknowledging it but ultimately rejecting it. He recognizes that the longing they share cannot be fulfilled and expresses a firm resolve to deny it, underscoring themes of loss, restraint, and acceptance. The chapter closes on a note of quiet solitude, with Anabin left alone once more, holding onto the echoes of a song and a presence that remain just out of reach.
FAQs
1. What is the significance of Anabin playing the piano alone after the children have gone, and how does the setting contribute to the mood of the scene?
Answer:
Anabin playing the piano alone signifies a moment of solitude and introspection following the departure of the children. The warm day and sunny room create a peaceful yet somewhat melancholic atmosphere, emphasizing Anabin’s quiet contemplation. The fact that he has no place to be suggests a pause in action, allowing for reflection. This setting underscores the emotional weight of the scene, as Anabin engages with a forgotten song that holds personal or symbolic meaning, reflecting themes of memory, loss, and longing.2. How does the chapter explore the theme of memory and transformation through Anabin’s interaction with the song?
Answer:
The chapter highlights memory’s fluidity through Anabin’s uncertain rendition of the song. As he plays, he is “unintentionally remaking” it, raising questions about whether it remains the same song. This suggests that memory can be incomplete or altered over time. The song originally had words and was meant to summon a lover, but Anabin neither sings the lyrics nor plays it exactly as it was. This transformation reflects how memories evolve, blending past and present, and how personal interpretation shapes remembrance.3. Analyze the symbolic meaning of Bogomil’s presence and his interaction with Anabin during the piano playing. What does this encounter reveal about their relationship and the broader themes of the chapter?
Answer:
Bogomil’s spectral presence symbolizes a connection to the past and the unresolved emotions tied to the song. His hand overlaying Anabin’s, with “dirt and grime” beneath the fingernails, contrasts physical reality with memory or spirit, suggesting a haunting or lingering influence. Their joint completion of the song signifies a shared history and emotional bond, yet Anabin’s refusal—“it would not be right for you to have it. And I do not want it”—reveals tension and sacrifice. This encounter encapsulates themes of longing, denial, and the complexities of relationships marked by pain and hope.4. What might the “broken glass… beginning to fit itself together again” symbolize in the context of the chapter, and how does it relate to the unfolding narrative?
Answer:
The broken glass slowly fitting itself together serves as a metaphor for healing, restoration, or the reassembly of fragmented memories or emotions. In the context of Anabin’s solitary piano playing and the ghostly presence of Bogomil, it suggests that despite damage or loss, there is a possibility of reconciliation or understanding. However, the delicate and gradual nature of this process also implies that healing is incomplete and ongoing, mirroring Anabin’s tentative engagement with the past and the unresolved nature of his hopes and relationships.5. How does Anabin’s deliberate playing of wrong notes function within the story, and what does it reveal about his intentions and emotional state?
Answer:
Anabin’s intentional playing of wrong notes acts as a signal or summons, an attempt to provoke a response or alter his solitary state. This action reveals his desire for connection, possibly to summon the lover the song was meant for, or to break the isolation he feels. It also indicates a willingness to disrupt harmony to achieve a deeper purpose. Emotionally, this suggests frustration, yearning, and a complex interplay between hope and resignation, as he both seeks contact and prepares for the possibility of being ignored, highlighting his vulnerability and inner conflict.
Quotes
1. “He played it, fairly certain as he did so that he was unintentionally remaking it. And so, the song he was playing, could it even be said to be the same song?”
This quote captures the theme of memory, transformation, and the fluid nature of art or experience. It highlights Anabin’s reflection on whether the song remains the same when altered, emphasizing the chapter’s contemplative mood about identity and change.
2. “It was not a song that had been meant for a piano.”
This statement underscores the dissonance between form and original intent, suggesting a deeper layer of meaning or loss. It hints at the song’s origins and the complexity behind Anabin’s act of playing it, reinforcing the motif of displacement or reinterpretation.
3. “Well. If someone wouldn’t come for the sake of a song, there were other ways.”
Here, the tone shifts to a subtle tension and determination. This line signifies a turning point where Anabin moves from passive remembrance to a deliberate act that provokes response, introducing an element of interaction beyond the music itself.
4. “He felt their terrible agony as if it were his own, but he disregarded it.”
This quote reveals Anabin’s complex emotional state—his empathy intertwined with refusal or detachment. It deepens the portrayal of his relationship with Bogomil and the emotional stakes involved, illustrating themes of connection and denial.
5. ““I know what you hope for,” Anabin said. “What you still hope for. But it would not be right for you to have it. And I do not want it.””
This powerful closing statement encapsulates the chapter’s core conflict and resolution. It expresses Anabin’s awareness of unfulfilled desires and his conscious rejection of them, offering a poignant insight into sacrifice, boundaries, and acceptance.