![]() Atkinson’s witty, functionally elegant style in Transcription isn’t terribly distinctive, but it isn’t trying to be the writing is always in service to the story. Compared to a Cusk or a Smith (Ali or Zadie), Atkinson might appear to be a sort of literary matron, an aesthetic conservative unwilling or unable to adapt to the evolution of her art but hers is a profoundly feminist project. Far from interfering with the plot of Transcription, this meditation on identity kindles it. ![]() before you know it Transcription has turned from a wartime spy yarn into a fuguelike meditation on the fungibility of female identity. In her best worka category in which her latest, Transcription (Little, Brown), certainly belongsshe maneuvers the tropes of the murder-mystery genre, of historical fiction, and of. In her best work-a category in which her latest, Transcription (Little, Brown), certainly belongs-she maneuvers the tropes of the murder-mystery genre, of historical fiction, and of privileged white Britishness into a kind of critical salvage of women’s work, women’s lives, that’s as heterodox, in its way, as Cusk’s. ![]() Atkinson has predicated her enormously successful career upon giving readers intelligent and artful iterations of what they already know they like. ![]() ![]() Within a deceptively familiar form, Transcription treats the lives and labor of women with fresh complexity. ![]()
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