![]() ![]() It’s as if any sentence in the book would, if allowed to flow all the way to its digressive end, empty into the pool of injustices that put these characters in the Cause Houses to begin with. ![]() A consciously suppressed anger emerges only rarely, but often enough to make you read the comedy differently. The experience of traversing a simple flashback paragraph is like trying to leap from stone to stone across a river, except occasionally one of them turns out to be not a stone after all but a lily pad, or a shadow, and into the river you go. After some chapters, you feel empathetically exhausted, in the way you might feel drained by watching an overtime football game. And the sentences! The prose radiates a kind of chain-reaction energy. ![]() Reading it is like watching a movie in which one’s occasional impulse to ask questions is pleasantly swamped by the need to keep up with the pace of events. The sheer volume of invention in Deacon King Kong-on the level of both character (the first chapter alone introduces twenty individuals by name) and language-commands awe. ![]()
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