Sbagliando s'impera

La prossima potete saltarla, se volete.

«Sometimes he seems interested in using the relationship between spy and
author as a metaphor for the intricate dance of concealment and trust
that goes on between a reader and a writer. Like Henry Perowne in Saturday,
Serena strongly dislikes novels that play games with their readers –
“no tricksy haggling over the limits of their art”, she declares; “no
showing disloyalty to the reader by appearing to cross and recross in
disguise the borders of the imaginary” – so there’s an elaborate joke at
her expense (but to what end?) as she finds herself at the heart of
just such a novel.»

«A novel about espionage and fiction that traces the overt and covert
connections between secrecy, deception and creativity, Sweet Tooth
expertly navigates the gulf between perception and reality. Its feints
and ruses prompt the thought that “all novels are spy novels”. For all
its critique of state-supported subterfuge, McEwan muses that “The end
of secrecy would be the end of the novel – especially the English novel.
The English novel requires social secrecy, personal secrecy.”»