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Unsworth's first novel, The Partnership, was published in 1966 when he was 36. "...in my earlier novels, especially the two written in the early ’70s, The Hide and Mooncranker’s Gift, there was a baroque quality in the style, a density. The mood was grim, but the language was more figurative and more high-spirited. There was more delight in it, more self-indulgence, too. Among my earliest influences as a writer were the American novelists of the deep south, especially Eudora Welty, and some of that elated, grotesque comedy stayed with me."

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Overall, many people may enjoy this book, it just was not for me due to subject matter that I don't care to read. You may guess something so sinister waiting for those guys at the amusement park. You’re absolutely right!

Hide is a procedural murder mystery centering around detective Harriet Foster, a tenured Chicago police detective who just started a new job after suffering a series of personal and professional heartbreaks. I actually was expecting something different to this when I went into it, some more horror and less adventure. Not that there isn't horror and gore of course, and the monster too, but it wasn't what I expected.

Hide: The Graphic Novel by Kiersten White | Goodreads

I do think it could have done with a bit more mystery to build the suspense, but it was still overall a very enjoyable read. The art, while nothing to write home about, was also decent. The whole time I was thinking how this would be a great tv show on a platform where they could go gory, because the whole time I was also thinking, "this is House on Haunted Hill in an amusement park with teenagers!" (I initially expected it to turn out more like The Hunger Games, which is kind of starts out as, but it is definitely more House of Haunted Hill (1999)!) This book will live in your head rent-free. When I wasn’t reading Hide, I was thinking about it—it’s one of those rare books that twists itself into your consciousness. Kiersten White has outdone herself.” —Victoria Lee, author of A Lesson in Vengeance DNF’d due to the narrator. The story isn’t gripping enough to drive me to read it though - hard to tell how much of that is Tracy Clark’s writing and how much lands on the narrator. With time I have grown more sparing with the words. I think less of fire-works and flourishes. I try to get warmth and color through precision of language. This is more difficult, I think, which may be why I find writing novels so challenging and exacting."On your iPhone, open the Books app, then tap Reading Now.On your iPad, tap Reading Now in the sidebar. It did start out a little rough for me but as the story progressed so did the mystery and the complexity of the writing (in a positive way). If you like current event issues filled with nothing but intrigue and the constant question of “BUT WHO DID IT?! And WHY?!”, this is a good place to start.

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Also, in the author's note she mentions something about this being a treatise about race/class/whatever. Nah, it doesn't even come close to going there.When it comes to White’s writing style in this novel, I didn’t like it at all. The chapters are done in days and felt like various, out-of-place, random mini-stories within those chapters from the POV of characters as events happened. These mini-stories just ended out of nowhere then right onto the next random person. Simon is a forty-something-year old neurotic effete: over-educated and under-socialized. Living on the grounds of his widowed sister Audrey’s massive estate, he has acclimated to life by burrowing underground, creating what he terms his “hide.” Some of Unsworth’s most stunning descriptions in this book of landscape and distance can be found in Simon’s sections, and, admittedly, it’s unclear just how skillfully Simon has constructed his hideaway or if it’s just merely a series of bushes and fences. From here, he moves about the estate, surveilling and watching neighbors and also the social gatherings of his sister’s theatre group—distanced, remote, but judgmental: “Why should I always be on the outside of everything, appreciating my exclusion with an aesthetic ache?”