Here endeth the bulk of my reservations. Any conclusions? Why yes. From this I conclude that the brightest interruption is no more than a cunningly structured exploration of the well-established link between melody and memory, taking as its subject a character whose memories are barely worth accessing in this fashion, offering little in the way of great human insight and/or drama. Luca Maria-Mosa is the kind of writer who lives, I suspect, in a self-constructed haze of nostalgia. Why? Because nostalgia is comfy. It feels good to crouch in the warm sands of the past and feel the tides of reminiscence tickle the time-worn soles of your feet. What matter if some of the memories are sour? Memory does its best to touch things up. A lick of paint, a layer of varnish. And a little can go a long long way. Just lie back and let yourself fade away.
(Heidi Kohlenberg, review of Luca Maria-Mosa’s the brightest interruption)
With Kohlenberg’s review, all but one of the original fifty-two reviews of the Greatest European Novels by Contemporary Novelists have been re-published. The absence of the last review is a complicated matter, which I will explain in due course.