'Reading novels needs almost as much talent as writing them' is a favourite saying of X. Trapnel's, and one perhaps specially appropriate to the work in which he figures. For one could hardly find a work of fiction which more clearly demonstrates what Trapnel himself calls 'the heresy of naturalism' than this sequence of novels in which, for the reader, the deepest satisfaction comes less from character and incident than from the structure that supports them both: a structure so contrived that, as it flows, straggles or jerks itself along, by turns farcical and grim, sombre, tumultuous, absurd, reaching out through almost infinite varieties of egotism to embrace the furthest shores of crankiness and melancholia, it seems not so much to shape as to contain the disorderly process of life itself. It is not for nothing that Nicholas Jenkins takes his first name from that specialist in rhythm and design, Nicholas Poussin, whose painting provides both the title and the model for A Dance to the Music of Time.
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