In Act II, Chapter 11, if you put on the overture of Wagner’s Tannhäuser right when a particular character does, it perfectly matches the text as background music through the end of the chapter.

Pretty pleased to have discovered this in editing. I feel like, novels being literary works and relying so much on description, the ones that enrich us most are ones which cite their sources, as it were. The main character of Sons and Lovers by D.H. Lawrence mentions Baudelaire, for instance. I think, too, that they introduce us to fantastic works of art and music, such as A Carnivore’s Inquiry, which leans thematically upon Goya’s Saturn Devouring His Son, and, of course, Bukowski, whose favorite composers enchant him from the radio while he writes in his books and poems. These work because they ground us to the story. We know these pieces; the world seems more real, and becomes an elaborate tapestry of artistic connections. And the more meaning they hold to the text, the more fun, I think, it is. Everything in the text, even the color of the drapes, should be meaningful, because it is all an opportunity to weave a spell of meaning. Every word is an opportunity to help the reader relate to your character. And when you’re writing about a serial killer and the women he loves, you need to seize every opportunity you get.