Aoife Clifford

That stream of consciousness, we sort of enter that again and again for different characters.

And it builds up, manages to sort of build up with everyone's little subjective truths about this holiday and the weather, managed to build up this enormous picture of the world.

And what I loved about it was because it was sort of contrasting

those little individual bubbles of people's minds with kind of the permanency of the landscape, like the inevitability of the lock.

And like Emily was mentioning, the lock is a real foreboding character in it, the kind of this lurking kind of gloom.

We have some of the characters, well, one character in particular, go out on the lock.

They're all looking at the lock.

But because it's Sarah Moss, you're looking in one direction and you're about to head off somewhere totally different.

You're going to get blindsided by something totally different behind you.

I really enjoyed, one of the things I enjoyed most about it was thinking about it like from a crime novelist perspective and also even thinking of Emily's last book as well.

We often start at the dramatic event, that being sort of the stone getting thrown into the lake and then following the ripples, whereas Sarah Moss is actually doing the opposite.

She's watching the lake and the surrounds and the people and she kind of ends the book where we would start beginning and so gives a whole new perspective on it, which I really loved.

I loved it.

So he has this amazing kind of battle with the elements.

He drags himself back.

And then his mum sort of says, oh, God, will you close the door?

Are you letting the wind in?

You know, with no idea of this amazing battle that's just happened out on the lot and that's such an important part of his life.

I just thought,

It's beautifully done, beautifully done.