![]() ![]() ![]() Collins’s prose is rich with detail and description, and though it’s occasionally too decorative to picture, her portrayal of the devilish de Havilland and Emmett’s antediluvian tutor Seredith are adept, true-to-life depictions. The private, devious practise is left in the dark after the first act, and Collins devotes more time and poetic writing to painting a detailed, and, at times visceral, portrait of Emmett’s developing affections and their devastating physical and psychological effects. Told in three acts from three perspectives – two characters, three moments in time – the novel transforms from the fantastical to the romantic. With memories as fragile and valued as this, what has Emmett forgotten? ![]() This is the tempting yet terrifying premise of The Binding: the tale follows Emmett Farmer as he’s apprenticed to the peculiar art of extracting torturous and disruptive memories from the desperate, the exploited, and the defenceless, transforming them into an attractive volume for a less attractive fee, and leaving the purchaser – or victim – with less of themselves. Memories are tough to imagine: meticulous and muscular, fractured and fragile and ephemeral, forgotten and evoked and etched into our character – yet, what if you could extract them, etch them onto a page, and forget your grief, your regrets, or your gravest memories? ![]()
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