Angie Adbou handles multiple narrative voices very well. Readers familiar with her earlier novels, The Bone Cage (2008) and The Canterbury Trail (2011) will know this, having inhabited narratives from varying perspectives. They will also know (as will readers of her 2006 collection of short stories, Anything Boys Can Do) that
With chapters named for the days of the week in Street Angel and with specific dates in a given week in Adult Onset, these two novels seem to make ideal reading companions. Ultimately, much of literary fiction is preoccupied with time. Whether it is Molly Bloom's day in James Joyce's
Isn't there something satisfying about beginning to read someone's published diaries in a January, when those diaries begin in some other long-ago January? Dawn Powell's diaries have been on my shelves for more than a decade but suddenly, in this January, I felt compelled to begin reading them. It sat beside other
Readers are introduced to Cormoran Strike in a moment of need. His. “A double fee. Strike’s conscience, once firm and inelastic, had been weakened by repeated blows of fate; this was the knockout punch. His baser self was already gamboling off into the realms of happy speculation: a month’s work
"There’s no backstitching in stories. Nothing can be locked in place." So says a character in Studio Saint-Ex, but readers of Ania Szado's second novel might disagree; she seems to have no trouble locking a good story in place. She began where all good stories begin, with a fascination. In
