Wendy Eisenberg plays like a musical Bildungsroman. It's filled with mature reminiscences on old dreams (and their decay, and their radiance), the invisible coordination of a family, the constant mutations of life as it moves towards death, and the adventure of learning to embody yourself on the way there, while avoiding simple teleological notions of fortune and fate. It's a lesson in self-acceptance (or self-appeasement) as well as self-reinvention . . .
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