Peter Carey is an astonishing capturer of likenesses—not only in the sense of the portrait (the “good likeness”), but of the teeming similitudes with which a sharp eye and a rich memory discern and describe the world. Simile and metaphor, which are at the heart of poetry, are a less certain presence in prose fiction, in some novelists barely deployed at all, but in Dickens, for instance (with whom Carey is repeatedly compared), they are vital and unresting elements of the novelist’s vision.
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