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In the 1790s, the music of Gothic novels and plays is not Gothic music; it is celebratory, calming or transcendent rather than scary. By 1820, the music of Gothic is more likely to provoke shock, discomfort and unease. Melodrama brings about this change. Its ascendancy had long-lasting effects on the music of the Gothic more generally - in fiction and poetry, on the stage and the screen. The book considers work by writers including Ann Radcliffe, Matthew Lewis, Eliza Fenwick, Samuel Taylor Coleridge and James Boaden in conjunction with music by composers such as Michael Kelly, Stephen Storace and Samuel Arnold. 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As Avi Goldberg, the son of a Jewish pioneer, sits at a desk in a dark cell in a military prison in the Negev desert, he fills the long nights writing about his friend Saleem, an Israeli Arab he befriended on a beach one scorching July day, and the story of Saleem's family, whose loss of their Ancestral home in 1948 cast a long shadow over their lives.  Avi and Saleem understand about the past: they believe it can be buried, reduced to nothing. But then September 2000 comes and war breaks out  -  endless, unforgiving and filled with loss. And in the midst of the Intifada, which rips their peoples apart, they both learn that war devours everything, that even seemingly insignificant, utterly mundane, things get lost in war and that, sometimes, if you do not speak of these things, they are lost to you forever.  Set amongst the white chalk Galilee Mountains and the hostile desert terrain of the Negev Desert, the inbetween people is a story of longing that deals with hatred, forgiveness, and the search for redemption. The haunting poetic tone is not unlike that of Ben Okri's 'The Famished Road', whilst the themes examined are similar to those dealt with by Pat Barker in 'The Ghost Road'. 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