Having stories narrated by - or assembled via - a number of voices is a popular way of world-building. Each of the following books plays with this technique, allowing different perspectives to combine and create a more credible space for readers to inhabit. Just as in Meg Wolitzer's The Position, the matriarch
Sometimes, it's clear who the bad guys are. Sometimes they're clearly drawn, not only unsavoury, but also unprincipled. Like the misogynists who people the Signy Shepherd series by Susan Philpott, in which women are rescued from life-threatening situations by other women working a type of Underground Railroad, called The Line. (Blown
Three of these books were inspired by the conjunction between my own shelves and this year's Random House Bingo, which has a CanLit theme. The Tiger Claw filled my Nominated-for-the-Giller square, Evan Munday's second October Schwartz for the Mystery-or-Thriller square, and Elaine Lui's book about her relationship with her mother
This year I have read some stand-out collections, but for the most part I neglected to take notes from them: Joy Williams' Honored Guests, Kathleen Winter's The Freedom in American Songs, Jessica Grant's Making Light of Tragedy, Shawn Syms' Nothing Looks Familiar, Elaine McCluskey's Hello, Sweetheart, Julia Leggett's Gone South and Other
In interview with Harriet Gilbert, when meeting to discuss her landmark work The Country Girls as part of the BBC's World Book Club, Edna O'Brien speaks about the relationship in that novel between a young woman and a married man referred to as Mr. Gentleman. Little, Brown and Company, 2015
