Fans of Lee Langley’s novels (A House in Pondicherry, Persistent Rumours, Distant Music) will know and appreciate her impressionistic style; the way she moves effortlessly between very different worlds, unfolding narratives that replicate the apparent randomness by which our lives take shape. It’s as if she at first creates a tableau vivant, paints a picture of everyone in it, and then shatters it to pieces so that she can painstakingly recreate it like a jigsaw puzzle.

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