ABOUT THE BOOK
Yet there are consequences that the couple must face. Will Chaz love and protect his wife? Will Naomi learn to trust Chaz?
Find out in the first novel of Paula Rose Michelson’s four-book saga e Naomi Chronicles.
Smashwords - Amazon - Goodreads
He headed to the master suite, intent on making this day the best day yet for the two of them. While Chaz wondered how they should spend the day, Naomi dressed and tidied up the parlor. When he entered the room, she asked, “Have you been reading Madre Vieda’s journal?” Surprised to discover that, though she had fainted, and spent time in bed, Naomi knew his every move, Chaz exclaimed, “Va a ser una madre maravillosa!”
“I know you believe I will be a wonderful mother, but flattery will never get you out of trouble!” She held up the journal. “Were you reading this journal again?” He grimaced. “I was trying to find out why everything associated with her and her journal affects you. Do you understand what I am saying?” “Sí, absolument! At this point, I think we are both concerned!” Chaz breathed a sigh of relief. “Are you saying that I am absolutely right to make me feel better?”
“I said what I did because it is the truth.” Aware that when she played the piano, Madre Vieda was with her, and believing within that experience was the answer, Naomi hurried to set it up. She sat down, and began to play. Why, I am myself again, she thought as she noticed the little mistakes she always made that had not occurred when her mentor and she were enmeshed. “You seem yourself again,” Chaz said as he watched her play.
“I think you are right.” He bent down and whispered in her ear, “You are back, and you are mine.” As she turned to look at him, she stopped playing. “Chaz, you are right! I am myself again!” He kissed her. “Now tell me, my amorcita, my sweetheart, what are you playing?” “A piece from the New World Symphony that Dvořák wrote when he came to the United States. I love its tenor and history.” “How do you know about such things?” “I heard this piece often because Madre Vieda loved to play her old record of it.”
He watched Naomi’s hands as she tried to evoke the unique nuances of the music. “Why did she like it?” “Perhaps because, like I do when I am with you, the music made her feel…” “Safe.” She nodded. “Thank you for doing what you knew I would hate, to show me how much you care for and about me cariño, my beloved.” “No fue nada.” “Your nothing is everything to me, Chaz.” He sat down beside her on the piano bench, and she felt as if they were reliving that sweet moment before everyone, even Chaz, had turned away from her. Pushing that horrid memory away, she nodded to the ‘listening chair’.
“She loved that a foreign composer came here to teach music and told his students to use American folk tunes as the basis for their compositions.” She stopped playing, for he had not moved. “It is best that you stopped,” he said. “For you to continue before I had time to tell you that for me this is a bittersweet moment, which brings back both our joy as well as the painful memories I inflicted upon you, needed to be said, and forgiveness from you sought.” Her hand caressed his as she nodded and whispered, “Forgiveness was given before I reaffirmed my wedding vows.” “Thank you. Now I am able to hear what you were saying.”
“I will continue when you sit as I directed because—” “Because that is where the music sound best…is that not so?” “You know it is.” He sat in the chair, nodded, and Naomi continued, “Dvořák believed American music should reflect what he called ‘Negro melodies’. Madre Vieda quoted him saying, ‘They are the folk songs of America, and your composers must turn to them’. To prove his point, Dvorák wrote the New World Symphony using songs like ‘Oh Susanna’ and many others. I think his lyrical refrains sound as new today as they must have to his students when this symphony was first performed at Carnegie Hall in December of 1893.” “
I am glad to have all of you here with me again.” Naomi nodded. “I know I am back from wherever I went. Whatever happens, do not let me go away from you ever again.” “What was it like for you to be here…but not altogether here?” Stopping abruptly, Naomi focused on some distant place for a second, and then returned. “How did you know that was happening?” “You were somehow removed. It felt as if something stood between us.”
“Now that I am back, I know that I was gone. What was here with you was just a part of me. Madre Vieda had a portion of my heart and would not release it until you freed me.” “Since this began when you started reading Madre Vieda’s journal, you are not to read her journal unless I am here. Do you understand?” “I do…but I…I must tell you that looking back at what happened to me, I know I must go where the music leads.” “Naomi, what music…What do you mean?”
“I know it is hard to understand, but for me, each of you has a melody, a refrain within me. Although I love you, I have heard Madre Vieda’s music for half of my life. When that gentle song calls me, I must answer.” “And me? Why is it that my song does not pull you to me no matter what you hear?” “Your song is like music coming from another room. I hear it and want to run toward it. Something stops me, and I do not understand why.” “Naomi, I had to fight against myself, my beliefs, and even my idea of how a man should be treated by his wife before I could come back to you! Now, you need to fight this thing so our love will endure, and we will grow old together!” “Yes, I know you are right! Bear with me, mi querido…my beloved. I did not mean to leave you this way. I will fight for us even against the pull of Madre Vieda.”
“Good. Since music is the key, I fight fire with…melodies of love,” Chaz said as he hurried to the record player and returned as the music and words of Johnny Mathis swirled around them. Taking her hand, Naomi stood, and Chaz pulled her close. They danced to ‘Until the Twelfth of Never’ as they had when he first gifted his bride the song and taught her how to dance. They focused on the conformity of their steps and the words of the song that made their hearts beat as one a few weeks ago. Humming along with the song, Chaz realized he had to share his heart, and said, “When I met you, Madre Vieda had become but a distant memory.” Her heart in her eyes, Naomi looked at him.
“Yes. That is true.” Drinking her in, he held her tight. “One cannot learn about marriage from someone who has not been married.” “When I think of my time with her and compare it with my time and my love for you, the word that best describes my feeling is intermezzo.” “If you want me to understand what you are saying, speak to me in words I understand!” “Forgive me!” Naomi exclaimed. She blushed scarlet, prayed silently for God’s help, and explained, “Intermezzo is a musical term which means ‘in the meantime’. It is a little something played between major themes to fill up space and allow the listener to take in the music without being overwhelmed.”
ABOUT THE AUTHOR
Paula Rose Michelson is not only an author but also a mother of two married daughters, and the grandmother of seven. She authored the Casa de Naomi Series.
Today, February 1, 2014 The Naomi Chronicles, Book One, Beginning Anew will release on Amazon.
In 1988, she founded LAMB Ministries which teaches women recovering from trauma and abuse. While awaiting the copyright for the first LAMB recovery book titled, "Why Did We Become Angry?"
She wrote a series of politically incorrect articles that will be published under the title, "The Purple Pitch Seduction of America." These will release in 2014.
Paula can be found online on:
For this release blast Paula has decided to do a giveaway.
The prizes are:
3 sets of the previous Casa de Naomi Books (digital format)
3 x Casa de Naomi: Book One (digital format)