Real-World Counterpoint
As a counterpoint to the “epidemic of loneliness” among American Men, The Wilderness of Friendship is a narrative account of how four men, friends since their days together at Vanderbilt Divinity School in the 1980s, have intentionally pursued and deepened a collaborative relationship of love and joy through sharing success and failure, gain and loss, life and mortality.
What is The Wilderness of Friendship about?
Forty years ago, we became friends as students at Vanderbilt Divinity School. Today, we count ourselves as brothers to one another, the result of intentional decisions to share the experiences of wilderness together, both literally, the wilderness outdoors (lakes, rivers and mountains), and the metaphorical wild places of life (grief, loss and failure). In our book, we take turns telling the story of our friendship and exploring the intellectual, spiritual, and mental health terrain upon which it is built.
What prompted you to write The Wilderness of Friendship?
For more than twenty years we have gone into the wilderness for a week together each summer and, upon returning home, have been met by friends and neighbors with curiosity and, occasionally, envy. Then, in 2017, an article in the Boston Globe alerted us to what is often called the “epidemic of loneliness” in American men. We realized that by drawing on our experience, we could offer a real-world counterpoint to traditional, isolating modes of stoic masculinity.
How do you go about this?
By telling stories from our own experience, we hope to inspire open conversations about how intellectual hospitality to new ideas, shared emotional vulnerabilities, and lifelong reciprocal interdependence can offer an alternative understanding for how men might form and keep friendships. Able to blend male mental health awareness, spiritual and theological reflection, outdoor adventures, and what we hope is good humor, we’ve shared a narrative of forty years of deep platonic relationship with one another that we hope might be an inspiration to others to seek friendships in their own lives that take advantage of their own unique strengths and experiences.
Why are you uniquely qualified to write this book?
The most important qualification is, of course, our forty years of sustained commitment to and caring for each other. But each of us also brings unique educational training and vocational experience to the work. Bill Harkins is a licensed therapist, an Episcopal priest, and a retired professor of pastoral theology. He’s written dozens of articles on mental health and healing, and for a decade taught a course on Men in Ministry. Bob Victorin-Vangerud has a PhD in philosophy and brought his wisdom to thirty years of teaching men in prison who have been bruised and broken by trauma and flawed understandings of what it means to be men. Bill Friskics-Warren is a successful advocate for justice for the unhoused populations of Nashville and has a deep passion for listening to voices that are not like his own white, straight, cisgender, privileged one. Paul Shupe has been a pastor in United Church of Christ congregations for nearly forty years and has a lifetime of experience with men’s groups across the lifespan.
What is new in your book that might make a unique contribution to the topic?
Rather than offering theories or advice, we offer a real-world narrative account of a multi-decade friendship. We share reflections on interpersonal experience, rather than offering instructions or principles. Included are examples of the power of vulnerability, showing that male bonds grow powerful when men drop their emotional guard in order to share experiences of masculinity, family relationships, aging, and mortality. We describe a lifelong commitment to intellectual and spiritual hospitality, which we believe opens doors to growth and new relationships. By contrast, assuming that in order to fully belong, all must agree, keeps doors closed and men isolated. Perhaps most important, collaboration, compassion and cooperation emerge as viable alternatives to the standard notion that competition is at the heart of every male action and interaction. Finally, embracing wilderness, both the literal outdoors and life’s metaphorical wild places -like grief, loss, and change- reveals deep meaning.
What do you think are the root causes of our “epidemic of loneliness” in American men?
We certainly do not believe that our experiences offer a definitive diagnosis of what is surely an immense and complex and multi-faceted problem. But it has been our experience and our observation over four decades that men are surrounded by a culture that equates masculinity with independence. We’re taught to need no one and to expect nothing other than what can be won with our own efforts. Showing vulnerability, on the other hand, often feels like an invitation to be hurt. In such a climate, men can bind together for any number of reasons: to climb mountains, fight wars, meet sales quotas, root our teams to victory and so forth, but when the task is accomplished, we tend to disband and go back to our separate ways. None of this is conducive to lifelong, mutually caring, compassionate friendships that endure.
The four of you are in some ways very similar: white, straight, cisgender men, privileged educationally and comfortable financially. Can those who are not like you form friendships like yours?
It’s truly not our place to say. While we try to be as open as we can to the experiences of others, ultimately, we can only know what it is like to be ourselves, and we would not offer our experiences as a prescription for anyone else. What we do hope is that our experiences might inspire others to think about their own experiences, their own friendships, looking for ways to seek and create for themselves in their settings something akin to what we have sought and created in our own. And we’d love to hear the stories of how it happened for them.
Why should people read this book? What will the reader carry away with them?
We believe our narrative reveals that remaining intentionally committed to your friends, over years and decades, in good times and in hard ones, deepens trust and significantly enriches daily life. Doing so changes neural pathways and strengthens the intellectual, emotional and spiritual capacity for processing events, inspiring courage, vitality and wonder. We hope that readers come away persuaded that sharing life’s struggles with trusted friends – disappointments, failures, worries – is just as precious and important as celebrating individual and shared triumphs or accomplishments. We hope that people realize that friendships can be built through intention, commitment and compassion. This is what makes friendships endure beyond happy accidents of shared interests or enforced proximity. And finally, it may be obvious, but it bears noting: Friendship must be fun, perhaps not always funny, but deeply joyful.
Author Links: GoodReads | Amazon
Consequences of Our Dysfunction
In your memoir, In the Shadow of Many, you confront generations of family trauma, addiction, and buried secrets as you break destructive cycles and reclaim your life. When did you first realize that sharing your experiences might help others facing similar struggles?
Finding a place where you feel like you’re not alone is a good first step. For me it was 12 Step meetings. Understanding that I didn’t have to know what to do, there was always someone who did because they went through it themselves. I realized early on that I didn’t have to have it all figured out to help someone. That maybe, for example, I only had a hundred days clean and sober, but to the person who has one day, those hundred days are huge.
How did examining your family history change your understanding of the behaviors and relationships that shaped your upbringing?
Each person has to find sources that resonate with them, but for me, it was John Bradshaw’s The Family that articulated what I observed but could not explain about my family. I was a living embodiment of the consequences of our dysfunction but felt powerless to change it until I could see the whole picture. What I appreciated about it most was that he wasn’t blaming anyone. It was an honest look into my family dynamics that looked at our collective traumas as a reason, not an excuse, for why my family was the way it was. Once I could see it differently, I could see what I needed to change about myself.
What practical tools or approaches have been most meaningful in helping you develop healthier relationships, boundaries, and ways of responding to difficult emotions?
For myself, I was willing to grab onto anything that could help me see the truth about myself. I had only survival skills and few living skills. I went to seminars, self-help books, 12-step meetings, therapy, and watched a ton of documentaries. It wasn’t enough to tell me to just change; I needed to know how to change because I honestly didn’t know how.
What would you say to readers who recognize their own family dynamics in your memoir but feel uncertain about where to begin making changes?
The change happens the minute you choose to do something different. Families are so complicated that there’s not just one thing that fixes it; be open-minded. Some people will need to separate from their families, and some are just waiting for you to come home. Some things can be worked out in small increments, and some will need major changes. It’s not going to be easy; the more dysfunctional it is, the messier it could get, but it only takes one person to decide they can’t do it anymore that changes the whole dynamic. Some families are waiting for someone to come along who has the strength to call it out, and some people will have the fight of their lives to change it. I had the fight of my life, but it was worth every struggle.
Author Links: GoodReads | Amazon
My brother and I lived through Hell and abuse. I turned to addiction until I had a nervous breakdown when I was nineteen years old. I was forced to make a decision; change or die. I didn’t have the heart to kill myself, but I heard it said that we’ll change when our last resort seems like a good idea, and my last resort was change. But I had to do something because I was so broken and my life was so out of control that I had to find a different way of looking at the world. I start with my experience, so you understand that I mean it when I say, I understand your pain.
I have over thirty fife years of being clean and sober, have read countless self-help books, been to seminars, and therapy. I found many things that explained what I could not, and I found a sense of something Greater than Myself. I tried anything to feel more at peace with me. I can’t tell you how to do it, only to support you in your efforts. I’m not a professional but at the beginnings of Alcoholics Anonymous it was becoming understood that only an alcoholic could help another alcoholic, I’m saying only a broken person can help another broken person find genuine peace in your heart. Only you can fix it but know you’re not alone.
My hope is to help as many people as I can before I leave this world. I have a lot of wisdom to give but the only way I know how to express it is through my words. I have all the needed permissions from the Anonymous books I quote, it’s been professionally edited, and I am only writing in my first name, so you don’t look at my life as you read this, but your own. It’s not about me but about us all. This is my first book, but I have many in my head. Many things I would like to share to bring us to peace and happiness, something I never thought I’d have. I found a person that loves me for who I am, and we’ve been together for close to thirty years, I have found peace and happiness, I have repaired relationships, and I only want to share with you how I did that.
Occasional Absurdities of Modern Life
Night’s Stillness transforms everyday moments, cherished memories, humor, and faith into a heartfelt poetry collection celebrating life’s unexpected beauty. What does the title Night’s Stillness represent to you, particularly in relation to the quiet moments that inspire your writing?
There seem to be fewer quiet moments for people to enjoy. Today’s world is infiltrated with day-to-day “living necessities” that rob us of precious time for thought, reflection, and fostering relationships. Being able to enjoy a special moment for oneself calms the rough seas of Today’s lifestyle.
What role does humor play in your writing, particularly when reflecting on relationships, frustrations, and the occasional absurdities of modern life?
People appear to be taking things more seriously, as happens when they are confronted with additional stress and worry. I try to promote enjoyment through the sharing of humor that exists in life’s simplicity.
How would you describe your poetic voice, and what influences have shaped your conversational and often humorous approach to writing?
Poetry is not merely what we write upon paper; it is the quiet awareness with which we inhabit the world. To “Be Poetic” is to listen closely enough to hear the universe speaking through the mundane.
How has writing poetry influenced the way you observe the world and appreciate experiences that might otherwise seem insignificant?
Through my books and poetry presentations I hope to share “emotions, experiences, and a little humor through poetry.” I promote Be Poetic. Reference my website: www.bepoeticinkansas.com
Author Links: Redfern Booksellers | Website
Believing in Yourself
The Wall is centered around a young girl navigating sensory overwhelm and social anxiety while longing for friendship and a sense of belonging. Was there a particular moment that made you realize this story needed to be told?
My daughter has autism. When she was younger, I found anytime we went to a playground, a social event, a friend ‘hangout’, etc., she was really struggling with social interactions. She would repeatedly have what we call ‘shutdowns’. She stopped talking, silently cried into my shirt, and went physically limp. When removed from the environments, she recovered fast and told me that she wanted to have friends. The sensory overwhelm caused in social interactions, paired with her autism, made it very hard to regulate, thus making it harder to form friendships. When I looked for picture books to see if I could help teach her about these situations, to uplift her, I couldn’t find a story that matched what I wanted to say. It was then I decided, “Fine, I will do it myself.”
How did you approach illustrating sensory overwhelm for young readers?
My daughter does not experience sensory overwhelm in the way that is often depicted in children’s books. She does not scream, run, hit, or tantrum. I wanted to illustrate exactly what I saw in my daughter. In situations of sensory overwhelm, my daughter sometimes has word-finding difficulty. I wanted to reflect and honour that by making a mostly wordless book. I think this can be appreciated by disabilities other than autism and in children who are non-verbal.
When did the wall become the central visual symbol of the story?
From the moment of the book’s conception. When I watch my daughter in times of social overwhelm, it is as though I can see a wall come up; a barrier that can prevent or limit her and what she is able to accomplish in the moment. Though a wall can be seemingly present, I see her for the strong young lady she is: persistent, driven, funny, courageous, and unique. This book is a conversation about social challenges, but it is also a story about resilience, patience, and believing in yourself.
How can caregivers use the book to help children describe their own sensory or social needs?
Caregivers can ask the reader questions about characters in the story to prompt conversation about what is happening. I believe that by opening conversations about the illustrations and the story, it can teach compassion, empathy, kindness, and inclusion.
Some sample questions might be:
What do you think this character is feeling right now? Why do you think they are feeling that way?
What are ways you might be able to help someone in a situation like this?
Do you ever feel like this?
How do you treat yourself with kindness?
What do you do when you aren’t able to do something on the first try?
Author Links: GoodReads | Facebook | Website | Amazon
She just doesn’t know how.
At the playground, everything feels too big, too loud, and too much. When a wall rises between her and the other children, connection feels impossible.
The Wall is a gentle, powerful story about sensory overwhelm, courage, and the quiet ways children reach for one another. With sparse, lyrical text and a deeply relatable emotional journey, this book offers a window into the experience of neurodivergent children. It is a mirror for anyone who has ever longed to belong.
Because sometimes, the smallest step forward can change everything
Reaping the Consequences
Collin O’Daurc follows a sarcastic hairstylist who, after suffering a stroke, awakens in a bizarre dreamworld where eccentric companions, impossible adventures, and inner demons challenge everything he knows. How did the idea of sending an ordinary hairstylist into such an extraordinary fantasy world first develop?
Collin was a real hairstylist in the 1970s, in the beauty parlor my mother visited every Friday. I always found his arguing on the phone with his girlfriends while he styled someone’s hair amusing, but the bulk of the Collin-story came from a dream, where I saw in a photo-realistic freeze-frame a young man and woman lost at sea, the lifeboat they were in drifting on stormy seas at night with a fishnet bundled over its rail. I also saw the book’s title, which was, of course, Collin’s name, and its rather peculiar spelling. Why I connected this artwork-type scenario with the real Collin, I have no idea.
How does Collin’s understanding of himself change as he develops relationships with people whose personalities challenge his own?
I think Collin’s most dramatic challenge and change is learning to think outside the “confines” of his head, so to speak —and to realize that even thoughts can have physical consequences in his “bounce existence”. We often conjure fantasies of what should be the “reaping process” resulting from others’ actions, events, and so on; it’s quite another thing to see that tasteless idiot who lives next door and acts like a warthog actually be one when you next run into him at the post office. Collin learns, in a roundabout way, that even his thoughts can have physical repercussions, which requires a dramatic adjustment in his assessment of the true motives behind people’s actions. And that sometimes the best course isn’t trying to change or even understand those whose philosophies differ from his, but simply roll with them and do his best to get along…without falling into the trap of judging by appearances.
What interested you about exploring faith, karma, and the possibility that Collin’s experiences have a purpose beyond his immediate understanding?
Sowing and then reaping the consequences of various actions is a part of nearly every religion and philosophy; but that even thoughts can dramatically affect his reality is a major revelation for Collin, whose past has hardly been introspective. Snap judgments and reactions can cause a world of hurt and set in motion sometimes long-drawn-out ordeals as a result. Collin’s impulsive thought-life had better give way to a more disciplined way of thinking, or he and his exotic buddies may truly be in for it…at least, when the next “bounce” is triggered!
How has writing Collin O’Daurc influenced your understanding of the relationship between visual art, storytelling, and the imagination?
If anything, it’s inspired me to be more aware of the necessary balance between creativity that’s spontaneous and the creative process, which is quite another thing. I’m an instructor and curriculum designer who’s taught everything from floral design and silversmithing to electrical theory, publishing, and 3D CAD, and understanding the components involved in the process is the core base in any subject. Once those components are identified, what one does with them can either be wildly spontaneous or a structured progression, depending on the subject. That’s the way it is with storytelling, and the mental-then-manifested and recorded elements that comprise it.
Author Links: GoodReads | Website | Amazon
Family History
A Waltz Across Time follows a clairvoyant bookseller who follows clues hidden in a centuries-old Bible to reunite a ghost with his family and uncover generations of love and sacrifice. What drew you to combining a contemporary paranormal mystery with a multigenerational historical saga spanning five hundred years?
This story is inspired by ancient and more recent family history, so I wanted to ground it in the present, but also depict the journey through five centuries of New Mexico heritage and legacy. The characters are inspired by individuals I admire greatly (albeit posthumously!) and I wanted to honor their courage, ingenuity, and resilience, without shortchanging the enormity of the events they encountered and endured, and linking them to modern-day folks.
What inspired you to make Lucinda a bookstore owner with second sight, and how do those two aspects of her identity complement one another?
I had all the genealogy/ancestry research, as well as reams of historical research, accumulated and staring me in the face from piles across my office floor. I had no idea how to pull it all together. My husband suggested a retreat, so I stayed at the Colorado Springs Franciscan Retreat Center for a few nights. In a very large dormitory, I was the only (!) occupant, and yes, it was spooky! But I also walked their labyrinth and began to feel the energy of past spirits trying to help with ideas – I know, sounds crazy, but hey, I’m a writer. We have to be a little crazy sometimes… Then my husband suggested the story needed a ghost, and that helped me put it all together. Lucinda perceives ghosts b/c that’s her inherited family gift, and her character’s intuition and determined intention (she keeps her promises) blossomed from there. I enjoyed getting to know her:).
What was the most surprising or meaningful discovery you made while researching the historical events and everyday experiences depicted in the novel?
I was tracing the lineage through early Santa Fe, and got the idea about the Buffalo Hide Murals. I wrote that whole section before learning that one of our ancestors and his son did actually paint those murals! I came across the information about Francis Schlatter (the famous healer) by accident and was amazed that he lived in a tiny village near our ancestral home, so I worked him into the narrative. Also, I used another ancestor’s military/medical records, which gave me a clearer picture of his personality and his own journey.
Has writing A Waltz Across Time changed the way you think about your own family history or the importance of preserving stories for future generations?
I think we should all interview our elderly family members as a means of respecting and preserving their lives and heritage, which forms the foundation(s) for our own. On my Dad’s 75th birthday, I did that with an audiotape recorder, and I’m so glad I did! Now when I think of him, it’s with greater understanding and appreciation of who he was and how much he and my mom contributed to our lives. And according to physicists and mathematicians, there are more dimensions than just our 3-D one. So who’s to say people from the past are completely gone? Maybe they are interdimensional:)…sounds like a new story!
Author Links: GoodReads | Website | Amazon
A WALTZ ACROSS TIME spans 500 years of New Mexico’s history, inspired by family ancestral records and lore; interweaving a contemporary ghost story, bibliomystery and romance with fictionalized accounts of ordinary people navigating extraordinary times.
Lucinda, a clairvoyant Santa Fe bookstore owner, promises the ghost of a one-eyed Marine she will return his family’s 500-year-old Spanish Bible to his descendant and rightful heir, using clues stashed within its pages to guide her search.
Each clue opens a window to the lives and loves of Franciscans and Indigenous peoples, Spanish-Mexican colonials, mixed-race settlers creating adobe homesteads and fighting slavery with the Union Army, forbidden lovers eloping amidst a hail of bullets, midnight fugitives being quietly fed, and WWII soldiers prevailing over devastating injuries. But Lucinda’s search for the Bible’s heir goes dark with the plight of a Marine who lost an eye at Okinawa and imagined a raven-haired angel just before his world, too, went dark. How can she trace the thread of his life to the present day and keep her promise without losing sight of her own hopes and dreams?
Motherhood Changes You
Taken follows a young couple living a seemingly peaceful life in the Appalachian mountains whose lives are complicated by a dangerous family legacy as supernatural hunters. What was the inspiration for the setup of your story?
I grew up in Appalachia, so the setting is personal to me. I’ve also found that Appalachia is especially underrepresented in books and movies, most likely because it isn’t viewed as glamorous like NYC, London, and other big cities. However, most people have heard about the Appalachian mountains being extremely old. In fact, they’re one of the oldest mountain ranges on the planet. They’re also known for their detailed and spooky folklore featuring all sorts of scary creatures. Whether or not these tales are true is hotly debated, but they certainly provide plenty of inspiration.
How does becoming a mother influence Annie’s understanding of danger, responsibility, and personal independence, and what challenges does she face as she begins questioning the limits of the protection Jace has always provided?
I try to write about all the important aspects of life that resonate with me. Motherhood and having children is a huge part of life for many women. It also changes you. Risks that you may have been willing to take before suddenly become unacceptable when it comes to your children. This is something Annie realizes as the umbrella of protection Jace provides seems to become more fragile. Annie wouldn’t have been bothered if only her safety were at risk. But because her children are in danger, she’s more skeptical.
How did you approach developing the emotional stakes of the supernatural threats so that they felt personally meaningful to the characters?
It was important for Jace to have a reason to keep Annie in the dark. Otherwise, he would have been totally irrational, which I didn’t want. He needed a basis for his fears, even if his perspective was slightly warped. Because family is of the utmost importance to Jace, his anxiety stemming from his mother’s death seemed like a natural way to go.
What is the next book that you are working on, and when will it be available?
I’m working on several projects at the moment. All of them are incomplete, so it will likely be a while before I have another release.
Author Links: GoodReads | Facebook | Website | Amazon
Annie knew that marrying Jace, a man with a long family tradition of hunting and killing all sorts of creatures that go bump in the night, would make her life more complicated. But it wasn’t until after having their first child, Bella, that Annie understood just how dangerous Jace’s world was. When Jace comes home injured, she becomes painfully aware that one day, he might not return. Annie becomes determined to learn how to protect herself and her baby, but she will have to convince either Jace or his brother, Blake, to teach her. Yet no amount of training can prepare her to face the danger that lurks in the shadows.
It Started with a Drawing
The Boy Who Lost His Voice follows a young boy on a journey from the historic streets of Delft to England, where his search for his singing voice becomes an adventure of self-discovery, courage, and spiritual encounters. What inspired the setup to this story?
The story actually began with the drawings, rather than with a plot. I had been drawing historic buildings, churches, cathedrals and cityscapes in different places, and I wanted to create a story that would connect these locations and bring the drawings together in a meaningful way.
As singing has always been an important part of my own life, it gradually became a central element of the story. I have sung in several of the cathedrals that I have drawn, so music, architecture and the atmosphere of these historic places are closely connected in my imagination.
Willem, the main character, was partly inspired by my grandfather. Through him, I wanted to explore what it means to lose something that is an essential part of yourself, and how a journey can become a way of discovering who you really are.
Delft’s canals, historic buildings, and England’s Gothic cathedrals play important roles in Willem’s adventure. How did you choose these particular settings?
I have always loved drawing historic cityscapes and architecture, particularly old churches, cathedrals and the streets surrounding them. The locations in the book were therefore not chosen simply as settings for a story; they were the starting point of the entire project.
I particularly enjoy the architecture and atmosphere of historic English towns and cities. Their churches and cathedrals are not only beautiful buildings, but also places filled with history, music and stories.
In a sense, the text is an illustration of the images, rather than the other way around. I wanted the words to give the reader a reason to travel through these places, while the drawings would allow them to see and experience their beauty.
Father Andries offers Willem companionship and guidance during his search. What inspired this character, and what did you hope their conversations would reveal?
I introduced Father Andries into the story for several reasons. Willem’s search for his lost singing voice is about much more than recovering the ability to sing. His voice is part of his identity, and losing it forces him to confront questions about himself, his place in the world and what gives his life meaning.
In that sense, his journey is almost a spiritual pilgrimage. Such a journey calls for guidance, companionship and someone with whom he can share his questions and doubts.
Father Andries provides that guidance, but he is also a companion on the road. Through their conversations, I wanted to explore themes of faith, courage, friendship, vulnerability and the search for meaning. I also wanted to show that sometimes finding your way does not mean receiving all the answers, but learning to look at yourself and the world differently.
Your detailed illustrations bring the story’s architecture and atmosphere to life. How did creating the artwork influence the development of Willem’s journey?
I actually created the drawings first, before writing the story. I often visit England, where I enjoy drawing on location with pen and pencil. I also made the drawings of Delft, my own hometown, while sitting outside and drawing the buildings and streets directly from observation.
Drawing on location is something I find wonderfully relaxing. It is also a very enjoyable social experience: people often stop to watch, ask questions and have a conversation. Those small encounters are part of the pleasure of drawing outdoors.
The drawings gradually suggested the places Willem would visit and the experiences he might have along the way. They gave the story its geographical and visual structure. As I began writing, I found myself creating a narrative that would connect the different locations and give them a place in Willem’s personal journey.
For me, the illustrations are not simply decorative additions to the text. They are an essential part of the book’s identity. I hope they encourage readers to look more closely at historic architecture and to appreciate the beauty and cultural heritage that surrounds us.
Author Links: GoodReads | Website
For Willem, an eleven-year-old boy from Delft, Netherlands, that question becomes all too real. When his voice is suddenly lost, he sets out on a quiet, searching journey that leads him far from home—across the sea to England and Wales.
Along the way, he wanders through ancient streets and encounters magnificent old buildings and historic places, brought vividly to life through 130 original black-and-white drawings, illustrated by Ellen van Schoten.
The Boy Who Lost His Voice is a poetic tale of loss and wonder, where images and words intertwine, and where the search for a voice becomes a journey into imagination itself.
“The Boy Who Lost His Voice is a wonderfully charming and beautifully written and crafted book that combines storytelling, history, music and art in a truly original way. […] Ellen van Schoten’s exquisite original drawings bring every scene vividly to life, adding another layer of beauty and imagination to an already captivating tale. A delightful celebration of music, place, and self discovery.” — Oliver Tarney, composer
