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
Henriette has just met her, but Dark Territory is actually the second Signy Shepherd novel. Simon & Schuster, 2016 “So wonderful to finally meet you, honey. We’ve all heard so much about you. [...] Look at you, such a skinny little thing. From what Maitland said, I expected a giant killer, fourteen
Everything: isn’t that what readers look for in a book? Many authors think so. PRH - Doubleday Canada, 2015 One suggests that Everything Leads to You. Another insists that Everything Was Goodbye. (Nina LaCour and Gurjinder Basran) One begs Tell Me Everything, while another is concerned with Everything
Lynda Barry says a “happy ending is hardly important, though we may be glad it’s there”. But there’s more to it, she says: “The real joy is knowing that if you felt the trouble in the story, your kingdom isn’t dead.”* Doubleday Canada, 2015 If one reads a
Gone Girl, The Girl on the Train and, most recently, The Widow: girls make for good pageturners. But Gillian Flynn, Paula Hawkins and Fiona Barton are looking to tell different kinds of stories about girls. In a BookPage interview, Gillian Flynn tries to explain why Gone Girl captured "the popular
