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Vanderhaeghe is particularly skilled at describing his creations: the grandmother with a "vinegary voice"; the father who was a "desolate, lanky, drooping weed of a man"; the child who is "loose-jointed" and "water-boned" with boredom; the husband with the "I'm-a-harmless-idiot-don't-hit-me smile." The dialogue flows with the patterns and ripples of genuine speech caught alive and still breathing, especially in "Going to Russia," in which a lunatic recalls his interview with a doctor. As they discuss a series of letters in a wonderfully resonant and twisting conversation, the two characters turn out to be tracing the ways art imitates life (and vice versa). These are rich, satisfying stories with a touch of wry humour. Despite their layers of meaning, which can reward rereading, they travel lightly. They are like the Prairies, in fact: allowing a clear view all the way to the horizon but revealing intriguing detail on closer inspection. --Mark Frutkin
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