Title: Crossing the Lines
Author: Sulari Gentill
Genre: Literary Fiction, Crime
Publisher: Pantera Press
Published: 1st August 2018
Synopsis: Winner of the Ned Kelly Best Crime Fiction Award 2018
When Madeleine d’Leon conjures Ned McGinnity as the hero in her latest crime novel, she makes him a serious writer simply because the irony of a protagonist who’d never lower himself to read the story in which he stars, amuses her.
When Ned McGinnity creates Madeleine d’Leon, she is his literary device, a writer of detective fiction who is herself a mystery to be unravelled.
As Ned and Madeleine play out their own lives while writing the other’s story, they find themselves crossing the lines that divide the real and the imagined.
This is a story about two people trying to hold onto each other beyond reality.
“…a pure delight, a swift yet psychologically complex read, cleverly conceived and brilliantly executed.” – Dean Koontz
“A tour de force!…a brilliant blend of mystery, gut-wrenching psychological suspense and literary storytelling… a shining (and refreshing) example of meta-fiction at its best – witty and wry, stylish and a joy to read.” – Jeffery Deaver
What happens when author and character write about each other, each thinking that the other is their own creation? Sulari Gentill explores this in Crossing the Lines, as Madeleine d’Leon contemplates writing something so different to what she usually writes, the limb she goes out on with Ned McGinnity begins to bleed into her life – and Ned begins to write about her. Leaving behind her much-loved and sought-after private detective, Madeleine delves into the world of Ned McGinnity, a serious novelist writing about Madeleine the crime novelist, who writes quirky, whimsical mysteries.
Yet as Ned and Madeleine write about each other – a crime novelist writing about a serious novelist, and a serious novelist writing about a crime novelist – the lines between reality and fiction, writer and character begin to blur, and their worlds begin to meld. Madeleine seems to fall into Ned’s world more than him into hers, but there is a feeling of connection beyond creation between the two – where the author becomes the character and the character becomes the author, and two worlds begin to collide.
Sulari Gentill has stepped away from Rowland Sinclair here – yet as she also as the Young Adult Hero Trilogy, it is interesting and fun to see the different things she can do with her characters and how they each remain faithful to their own books and works. Here, she has cleverly explored the relationship between character and author, and the act of writing and where it can take the author – sometimes to places that the author least expects, as happens to Madeleine in this book.
Filled with the complexities of the relationship of character and writing, this book has a feeling of meta-fiction to it – where the author character is writing about her character, and vice versa. It can be a confusing concept to try and understand, it is in essence, a piece of work of fiction, where the author uses parody, or departs from the traditional conventions of the novel. In this case, using the fictional author’s character to tell story as well as the fictional author, in an attempt to look at the various ways genre can be explored and how authors respond to genre.
This was a fun read – a few people Sulari knows make cameos, adding to the metafiction feeling, and showing that there are many ways to tell a good story, and many ways to write a story. It is an intriguing read for all, and one that I managed to read in one sitting, and now I must wait for my next taste of Sulari’s work with the tenth Rowland Sinclair next year.