Soloist (Lopez)

Book Reviews 
Lopez is a natural storyteller, giving us a close-up view of the improbable intersection of musicianship, schizophrenia, homelessness and dignity. The result is a surprisingly lively page-turner, propelled by the close friendship developing between these two men and filled with eloquent passages.... The Soloist goes a long way toward explaining the workings of the musical mind, albeit one tragically touched by madness. It doesn't shy away from exploring the failures of governmental programs and mental health services for the needy, but it does so without preaching and finger-pointing. It doesn't editorialize; like good music, it just is.
Daniel J. Levitin - Washington Post

Compelling and gruffly tender...Lopez deserves congratulations for being the one person who did not avert his eyes and walk past the grubby man with the violin.
Edward Humes - Los Angeles Times

(Starred review.) Scurrying back to his office one day, Lopez, a columnist for the L.A. Times, is stopped short by the ethereal strains of a violin. Searching for the sound, he spots a homeless man coaxing those beautiful sounds from a battered two-string violin. When the man finishes, Lopez compliments him briefly and rushes off to write about his newfound subject, Nathaniel Ayers, the homeless violinist. Over the next few days, Lopez discovers that Nathaniel was once a promising classical bass student at Juilliard, but that various pressures—including being one of a few African-American students and mounting schizophrenia—caused him to drop out. Enlisting the help of doctors, mental health professionals and professional musicians, Lopez attempts to help Nathaniel move off Skid Row, regain his dignity, develop his musical talent and free himself of the demons induced by the schizophrenia (at one point, Lopez arranges to have Ayers take cello lessons with a cellist from the L.A. Symphony). Throughout, Lopez endures disappointments and setbacks with Nathaniel's case, questions his own motives for helping his friend and acknowledges that Nathaniel has taught him about courage and humanity. With self-effacing humor, fast-paced yet elegant prose and unsparing honesty, Lopez tells an inspiring story of heartbreak and hope.
Publishers Weekly

By turns harrowing, winsome, and inspiring, this work by novelist (In the Clear) and Los Angeles Times columnist Lopez relates the first two years of his friendship with Nathaniel Anthony Ayers. A budding string genius at Juilliard in the early 1970s, Ayers succumbed to paranoid schizophrenia and became homeless, yet he continued to play the violin as a way to keep the demons at bay. With the help of Lopez and others who responded to his columns, Ayers took steps to recovery, residing in a group facility, making trips to Disney Hall for concerts, and achieving the dream of having his own music studio. The tangle of mental health policies and government priorities comes in for a thorough drubbing, as does the callous disregard for students' personal situations at many elite institutions, at least at the time Ayers was enrolled. Lopez's newspaper experience serves him well, and both he and his subject come across as fully developed individuals. A deeply moving story; highly recommended for all collections and of special interest to those dealing with the intersections of music and psychology or therapy.
Library Journal

Los Angeles Times columnist Lopez (In The Clear, 2001, etc.) brings empathy, intelligence and humor to his poignant portrait of a homeless man who once studied at Juilliard. The author first encountered Nathaniel Ayers, a longtime resident of Los Angeles's Skid Row, while en route to work. A Cleveland native who was among a handful of blacks enrolled in Juilliard in the early 1970s, Ayers developed schizophrenia while at the school. After unsuccessful treatment in psychiatric facilities, he landed on the streets of L.A. where, drawn by a statue of Beethoven in a local park, he began to play classical music on a battered violin. Lopez wrote a series of newspaper articles about Ayers that highlighted the plight of the homeless and brought the mentally unstable man donations of numerous violins, a cello and a string bass. Bedraggled and often spewing invectives, Ayers stored the instruments in a shopping cart that he wheeled through town. At night, he fended off sewer rats that scurried across the litter-strewn sidewalk on which he'd slept for years. Outraged, Lopez helped Ayers secure housing in a facility for the homeless and arranged for him to attend concerts at Disney Hall. By the book's end, Ayers has met cellist Yo-Yo Ma, a former classmate at Juilliard. But this is not a feel-good memoir. Determined to understand the evolution of Ayers's illness, Lopez probes his family history, revisits his painful past at Juilliard and seeks advice from mental-health professionals. He also details the myriad complications of forging a bond with a gifted musician whose schizophrenia continues to rage. Energetic prose delivers powerful insights on homelessness and mental illness.
Kirkus Reviews