From Bo's point of view, Ms. Although the penultimate chapter of "Make Believe," which sends Bo's life skidding off in yet another direction, contains a dazzling set piece that showcases all of Ms. Though there has always been a gothic strain in Ms. Scott's writing -- one of her novels depicted a grisly act of mutiny aboard a 19th-century slave ship; another portrayed an obsessive taxidermist and the bizarre people around him -- this venture into family soap opera does not mesh with the overall conception of "Make Believe. He knew that what could happen was always worse than what he could imagine, and for that reason he never wandered farther than calling distance away from home. Never, never had he called for his mama and she hadn't come. Scott's virtuosic skills, it grows out of a willfully contrived situation, and so feels less like an organic conclusion to this story than a showoff-y piece of writerly legerdemain. They possess the unsettling intensity of Benjy's interior monologue in Faulkner's "Sound and the Fury," immersing the reader in the slip-sliding world of a child's imagination, a world at once egocentric and rudderless, a world of bright, shimmering sensations and fragmentary knowledge.
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