It never ceases to amaze me how little credit is given to book editors. I've already sung their praises on this blog but really and truly, they are the secret heroes of literature. Whenever I finish a book, I flip to the back to check out the editor’s name. In fact, the other day, I was at the shop, considering whether or not to buy a new novel. Then I peaked at the acknowledgements, saw the editor was Iris Tulpholme, and went straight to the check out. The book, by the way, is The Storm by Arif Anwar. I read it and loved it. Iris did not let me down.
The Storm skillfully weaves various narratives together all the while keeping a firm grip on a true protagonist. There is a mystery at the centre that is solved at the end, but the threads of the story remained untied. It is not an anodyne happily ever after. It is a "they lived ever after" and what happens next is up to the reader to decide. I've been thinking a lot about plot lately (with regards to my new novel) and this book has given me something to chew on.
A couple of weekends ago I also read (gobbled up, more like) Zoey Leigh Peterson's Next Year For Sure. Billed as a story of polyamory, it's really so much more. It's the vivisection of a relationship and an exploration into loneliness, early adulthood ennui, friendship, and the fuzzy line of betrayal. Although it is a very, very different book, it reminded me of Fates and Furies by Lauren Groff. I couldn't look away even as the novel made me deeply uncomfortable. That's the hallmark of a great book. Plus, the dialogue was wondrous. More and more I find myself appreciating exceptional dialogue (Elisabeth de Mariaffi's Hysteria, edited by Iris Tulpholme, is another example of a book with sublime dialogue) Zoey eschews quotation marks and the result is that the line between interior thought and exterior speech is open to interpretation. If you are an intelligent reader who doesn't want to be spoon-fed, but who wants to be surprised and delighted by beautiful prose and new insights, this is a book for you. The Canadian editor, by the way, is Kiara Kent.