![]() ![]() ![]() That beginning is engrossing because it’s so promissory. ![]() ![]() Adept at the genre, Ian McEwan opens à la John Banville in The Untouchable, with a wily operative recalling a scandalous distant past, though with notable differences: the narrator is female her bit role in minor Cold War machinations was short-lived and we see (and, over the novel’s twenty-two chapters, learn) virtually nothing of her circumstances after 1973. Page-turner thrillers of all stripes trade on nimbly accelerating plot mechanics and narrative sleights-of-hand that highlight the gap between what eventually transpires and what readers (and, often, the intrepid hero) initially believe or anticipate.Īt the onset, Sweet Tooth’s essence appears to be literary thriller. ![]()
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