The Violin Maker's Secret

Evie Woods

59 pages 1-hour read

Evie Woods

The Violin Maker's Secret

Fiction | Novel | Adult | Published in 2006

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Background

Content Warning: This section of the guide includes discussion of death, graphic violence, and animal death.

Cultural Context: “The Two Sisters” and British/Irish/Scottish Folklore

The narrative arc of The Violin Maker’s Secret mirrors the folk ballad from the British Islands that dates to the 17th century called “The Two Sisters,” or the Scottish translation “The Twa Sisters” (Zierke, Reinhard. “The Twa Sisters / The Two Sisters / The Bows of London / The Wind and Rain / The Berkshire Tragedy / Binnorie / Minorie.” Mainly Norfolk: English Folk and Other Good Music, 2026). There are many variations of the ballad, but the general story of the song follows two sisters who fall in love with the same man, and the older sister pushes the younger sister into a body of water and drowns her in jealousy. In many versions of the ballad, someone crafts an instrument from the bones and hair of the murdered sister, and when played, the instrument reveals the truth of the murder (Zierke).


A Brothers Grimm tale titled “The Singing Bone” mimics this chronicle: Two brothers seek to kill a boar to win a reward from a king, and the younger brother with a pure heart succeeds. The older brother then murders the younger brother and presents the boar to the king himself. Years later, a shepherd discovered one of the younger brother’s bones and carved a mouthpiece for his horn. When the shepherd played the horn for the king, the king realized the truth of the murder and executed the older brother (Ashliman, D. L. “The Singing Bone.” University of Pittsburgh, 2002).


These stories, especially “The Two Sisters,” heavily influence Woods’s construction of the history of the violin in The Violin Maker’s Secret. Clara and Ursula are the two sisters, but Clara isn’t in love with Ursula’s fiancé. Still, Ursula murders her, and Clara dies in her beloved William’s arms, and William imbues her spirit into a violin that he plays at Clara’s funeral, revealing the truth of the murder. Woods engages with the murder ballad to create the magical violin, but she changes the more macabre element of the story, using parts of the murdered sister’s body to create the instrument, to a mystical element of magically transferring Clara’s very soul into the violin, and the violin serves as the driving force behind the entirety of the novel’s events.

Genre Context: Magical Realism, Historical Fiction, and the “Real” World

Woods engages with the magical realism and historical fiction genres throughout The Violin Maker’s Secret. Woods uses magic to create the violin that contains Clara’s spirit, but the rest of the world she builds remains grounded in realism. The 21st-century London that Woods crafts contains all the hallmarks of the modern world, from cellphones and dating apps to the pressures of living in an increasingly digital world. However, a 200-year-old magical violin drives the narrative arc of the novel, adding a layer of mysticism to the text. Magic motivates the protagonists to make tangible, real changes to their lives, forging deep, authentic relationships and finding new meaning in the world around them.


Woods also uses the violin to explore various historical figures and eras, keeping some accuracy while creating her own characters to examine specific time periods. She involves Niccolò Paganini in the origin story of the violin, and Paganini is the first person, besides William, to play the violin. Paganini was a real 19th-century musician and composer who wrote many influential pieces of music and was an extremely gifted violinist (“Niccolò Paganini.” Premio Paganini). Eva Mudocci is the next real musician to play the violin in the novel. She was an English woman who changed her name to sound more Italian and toured Europe, mingling with the intellectual and artistic elite of the early 20th century (Sevilla, Fernando. “Lady with a Brooch Violinist Eva Mudocci: A Biography and a Detective Story.” St. Olaf College, 2019). Woods uses Mudocci as an example of the violin offering women increased agency in patriarchal structures. Lastly, Woods also includes Agatha Christie as an example of a real historical figure that she fictionalizes as an encouraging force to continue the violin’s journey while on one of her sojourns on the Orient Express. Though she intersperses these real examples with invented characters, Woods blends magic and historical figures, places, and time periods together to create a rich, textured world.

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