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Your Devotee in Rags truly is a voracious visage of passionate construction. Exotic soundstages tumble unfettered around thunderous drum breaks and wholly convincing vocal performances. The narrative is female - is woman. Churning laments championed by steaming percussion drive us through moments, memories, patriarchy. The narrator is hungry. The voice is visceral, snarling.
Memoirist and poet, Hollay Ghadery has described her first book of fiction, Widow Fantasies (Gordon Hill Press, 2024) as “the result of my struggling to make sense of my fantasising about planning my husband’s funeral.” Not that she wants him dead, but rather because of her need for a more equitable partnership in her marriage, such are the circuitous paths of the psyche.
Widow Fantasies is a unique collection of micro-fictions where Ghadery condenses her narratives into semi-oblique snapshots
The first time I heard the term “voice” in relation to a book was in high school. The definition remained fuzzy, far harder to pinpoint than theme, setting, point of view, and characterization. A writer’s voice seemed somehow part of her style, but I didn’t really know what that meant, either.
Mostly, an author’s voice seemed extremely important: Voice helps distinguish one writer’s work from another and makes a writer unique.
Okay. But what is it?
