I read it pretty much in one shot yesterday while waiting for The Invisible Verizon Man, which is good, because otherwise I don’t think I would have stuck with it.   Dunn’s ability to nail a sensory description is unparalleled, but at times it felt extraneous to the plot, and I was like, “Okay, get on with it.”   But by the time the climaxes started popping, she had inverted that, and the crucial events at the end were just ambiguous enough to be even more shocking; she used detail, but left spaces too.   I still feel it could have used cutting in spots — parts felt written for the sake of the writing — but I did stop a number of times and admire her execution. (11/24/03)

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