My Memories Of A Future Life

'Spellbinding... a hypnotic experience' 'I was hooked - grabbed immediately' 'Beautiful, simple, evocative' 'Absolutely gripping' 'Don't plan to read just a few pages' 'A strange and stubborn book, visual and visceral, original and odd... will stay with you long after finishing its final pages' - For Books' Sake If you were somebody's past life... What echoes would you leave in their soul? Could they be the answers you need now? It's a question Carol never expected to face. She's a gifted musician who needs nothing more than her piano and certainly doesn't believe she's lived before. But forced by injury to stop playing, she fears her life may be over. Enter her soulmate Andreq: healer, liar, fraud and loyal friend. Is he her future incarnation or a psychological figment? And can his story help her discover how to live now? A novel in the tradition of The Time Traveller's Wife, Vertigo and The Gargoyle, My Memories of a Future Life is much more than a 'who was I' tale. It is a multi-layered story of souls on conjoined journeys – in real time and across the centuries. It's a provocative study of the shadows we don't know are driving our lives, from our own pasts and from the people with us right now. An examination of what we believe, what we create and how we scare and heal each other. Above all, it's the story of how one lost soul must search for where she now belongs. 'I was always fascinated by tales of regression to past lives,' says the author Roz Morris. 'I thought, what if instead of going to the past, someone went to a future life? Who would do that? Why? What would they find? 'Another longtime interest was the world of the classical musician. Musical scores are exacting and dictatorial - you play a note for perhaps a sixth of a second and not only that, there are instructions for how to feel - expressivo, amoroso. It's as if you don't play a piece of classical music; you channel the spirit of the composer. 'I became fascinated by a character who routinely opened her entire soul to the most emotional communications of classical composers. And I thought, what if she couldn't do it any more? And then, what if I threw her together with someone who could trap the part of her that responded so completely to music?'