Intelligence work sounds a little bit like writing novels, and McEwan proves that he’s sufficiently deft at the latter to navigate the grey space between fact and fiction without getting lost in it. In the end, Sweet Tooth is successful enough as a work of well constructed, brilliantly rendered fiction for Serena’s voice to work within the larger whole. The author remains so removed from his fiction that, once you understand what he’s up to, you have to strain to see him pulling the strings of the narrative.
Were I to claim that Jean-Philippe Toussaint shared a certain amount of common ground with Ian McEwan, I might be in danger of coming off as flippant or, worse, willfully obtuse.
The Truth About The Truth About Marie by Mark O’Connell