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Perhaps worried that readers will tire of endless visits from children and grandchildren, funerals, and solitary evenings, O'Nan clutters the narrative with hints of disaster that go unfulfilled — an unnecessary distraction from Emily's rich interior life.
Perhaps worried that readers will tire of endless visits from children and grandchildren, funerals, and solitary evenings, O'Nan clutters the narrative with hints of disaster that go unfulfilled an unnecessary distraction from Emily's rich interior life.
"Emily, Alone," by Stewart O'Nan (Viking; $25.95) Perhaps worried that readers will tire of endless visits from children and grandchildren, funerals, and solitary evenings, O'Nan clutters the narrative with hints of disaster that go unfulfilled — an unnecessary distraction from Emily's rich interior life.
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None of the many hints of impending disaster lead anywhere.
Numerous gold coins found at the underwater archaeological sites provide a hint of when disaster struck.
A few might turn out, in hindsight, to be the critical hint of a disaster in the making.
It was narrative predestination -- slippery hints and overt premonitions of disaster -- that drove the book rather than the compelling inevitability of character and motive.
There were no tools, or hints of fire or natural disaster.
No hint of scandal or disaster there, surely?
It was a calm, sun-filled day, crossed by peaceful clouds that gave no hint of any natural disaster.
What kind of disaster, exactly.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com