Rest Is Noise Series: Apparition from the Woods

Alex Ross has been the music critic of the ‘New Yorker’ since 1996. From 1992 to 1996 he wrote for the ‘New York Times’. His first book, ‘The Rest is Noise: Listening to the Twentieth Century’, published in 2007, was awarded the Guardian First Book Award and was shortlisted for the Pulitzer and Samuel Johnson prizes. In 2008 he became a MacArthur Fellow. A native of Washington, DC, he now lives in Manhattan.

‘Alex Ross's incredibly nourishing book will rekindle anyone's fire for music.’ Björk‘A brilliant, bracing account of all the different kinds of “classical” music that have permeated this last dark century. Such an entertaining, accessible and enthralling book.’ Colin Greenwood, Guardian‘It’s a history of 20th-century music so vivid and original in approach that it made me listen again to many pieces I thought I knew well.’ Philip Pullman, Guardian‘Ranks as my non-fiction book of the year. Erudite and engaging, written with flair and passion.’ Boyd Tonkin, Independent‘Combines scrupulous and inventive analyses of the 20th century’s music with lavish care over that music’s improvised history.’ Adam Thirlwell, Guardian‘Magisterial.’ Telegraph‘He places the music in social and cultural context while sticking to the score and eschewing the artworld political consensus. A miracle.’ George Walden, TLS‘”The Rest is Noise” achieves the aim with bravura, hacking out a path leading from cacophonous European modernism to the white noise of The Velvet Underground.’ Ludovic Hunter-Tilroy, Financial Times‘Alex Ross breaks new ground. This is an astonishing book.’ The Times'Just occasionally someone writes a book you've waited your life to read. Alex Ross's enthralling history of 20th-century music is, for me, one of those books.' Alan Rusbridger, Guardian‘Stunning narrative. Visionary music critic Alex Ross comes closer than anyone to describing the spellbinding sensations music provokes.’ Financial Times‘A work of immense scope and ambition … a great achievement. Rilke once wrote of how he learned to stand “more seeingly” in front of certain paintings. Ross enables us to listen more hearingly.’ New York Times'A sound-drenched masterpiece.' Steven Poole, Guardian