Troubled Blood: Galbraith Music

Gotta love that “they,” no? Hat tip to Beatrice Groves!


  1. Beatrice Groves says

    I was interested in Rowling’s motivation for asking/answering this question; and I suspect it is due to the reader’s temptation to find in both Strike and Robin facets of Rowling’s own personality (it is difficult to read Robin’s response to Court & Spark, for example, as uninfluenced by Rowling’s!). My guess is that Rowling is attempting to ‘correct’ (or distance herself, whether true or not!) that impression here by stressing how different her creations’ taste is to her own.

  2. You know, the topic of “Strike Music” itself might be a bit more apt than you might think. As the author indicated above, rock music is implied to be a big part of the series. I find that comforting in an ironic sort of way. Because for some time now (like maybe somewhere back before “Troubled Blood” was even announced) it occurred to me that there could be some sense in which Classic Rock might have a thematic importance for the books that hasn’t been dug into yet. I thought that was just off my own bat at the time. Now, however, with the author highlighting the works of Joni Mitchell and Tom Waits, along with the in-text use of Blue Oyster Cult, coupled with the admission above, I suppose this is the best spot to ask a genuine question. What kind of thematic importance could rock music play in the series?

    It’s already possible to get some of the answers to that question. Robin’s slow identification with Mitchell’s music is pretty much up front for all to see. I suppose what I’m trying to ask in those instances is how much further does it go? What, for instance, does Joni Mitchell have to do with Edmund Spenser? That’s the kind of critical discussion I’m talking about. Whether it makes sense of not remains to be seen.

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