![]() “Outline” is fiction and “Aftermath” is not. No, not enough, they say, when you hold back. Too much, they say, in other words, when you try to give them all you can conjure. Review of Books: “Much as the narrator ‘remained dissatisfied by the story’ told on the airplane, I remained dissatisfied by the lack of story told by the narrator about herself.” Maybe it’s an obvious point to make about a 45-year-old serial memoirist, but she finds herself disproportionately fascinating.” And then Magdalena Edwards on the spare, fragmented 2014 novel “Outline” in the L.A. ![]() ![]() Reading the critical response to Rachel Cusk’s “ Aftermath” alongside the reviews of her “Outline” trilogy feels like following the often-exasperating conversation around “women’s fiction” in real time.įirst, Emma Gilbey Keller on “Aftermath,” Cusk’s 2012 memoir of divorce, in the New York Times: “Cusk often sounds depressed, and appears not so much selfish as self-involved. ![]()
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