Glyph

Gliff #2

by Ali Smith

Brought to you by Penguin.

The new novel from bestselling, Booker Prize-shortlisted author Ali Smith - a companion to Gliff

Glyph follows Ali Smith's 2024 novel Gliff and tells a story hidden in the first novel. Gliff is set in a near future rife with surveillance, where people can be labelled 'unverifiable' by the state. It follows siblings Briar and Rose as they attempt to survive in a world that strives to crush curiosity and meaning.

Genres: Fiction, Literary Fiction, British Literature, Science Fiction, Novels, 21st Century, Audiobook

Audible Audio

First published January 1, 2026

About the author

Ali Smith is a writer, born in Inverness, Scotland, to working-class parents. She was raised in a council house in Inverness and now lives in Cambridge. She studied at Aberdeen, and then at Cambridge, for a Ph.D. that was never finished. In a 2004 interview with writing magazine Mslexia, she talked briefly about the difficulty of becoming ill with chronic fatigue syndrome for a year and how it forced her to give up her job as a lecturer at University of Strathclyde to focus on what she really wanted to do: writing. She has been with her partner Sarah Wood for 17 years and dedicates all her books to her.

Reviews

[emma]

more literary novels should have sequels

[Ari Levine · Rating 3 out of 5]

3.5, rounded down.

Not one of Smith's stronger efforts, and this one feels phoned-in on autopilot. Glyph delivers everything that you'd expect from her oeuvre post-How to be Both: clever punning wordplay, vivid historical irruptions, precocious adolescents' dialogue, preaching-to-the-choir political commentary, broken family dynamics, slippery metafictional feints, paeans to the transcendent power of art.

The characters in Glyph have read its companion piece Gliff, but this one is happening in our own dystopian timeline-- with airstrikes falling on Gaza-- rather than in a properly fictional dystopian nightmare. Petra and Patch are estranged sisters revisiting a traumatic episode from their childhoods-- involving the ghost of a flattened WWII soldier-- until an escaped-horse-in-an-apartment emergency reunites them.

In my review of Gliff last year, I expressed my concern that "Smith has been over-working the same thematic ground." I'm going to double down on that this time.

Thanks to Netgalley and Pantheon Books for giving me an ARC of this in exchange for an honest, unbiased review.

[Lee · Rating 4 out of 5]

(4.5) I'm cured again, for now.

[Henk · Rating 3 out of 5]

Full of wordcraft, sisterly relationships and a strong anti-war message. I felt this is a less strong and more familiar, at times even maybe preachy, contemporary pendant to Gliff
Well.
Family almost always means someone somewhere doesn’t get to be it.

Ali Smith brings us Petra (elder and the initial narrator) and Patricia (Patch) Wild, two sisters now estranged. Glyph is very much an anti-war novel, starting off with recollections of cruelty from the first and second world wars, involving a blind horse, court marshalling and a person literally made 2D. There are links to saint Bartholomew, flayed alive and often depicted with his skin on his arm.
Gliff, the companion book, makes an appearance as a novel send by Patricia to Petra. Billie, the socially engaged (dare I say woke?) adopted daughter brings the narrative firmly into contemporary issues, when she is arrested for something she Could have said to have been.

At times Glyph feels a bit formulaic, with English flags on lampposts, people being arrested for being more than 5 in a place, a main character losing a job due to AI and police action for having a scarf that sympathises with Gaza: this felt to me like a bit exaggerated bingo card of all the things in the British news of the last twelve months projected to a couple of rather cardboard characters.
Which is even explicitly recognised:
I’m an ancient fragment. Happy to be a broken piece of something. Sad to be it too. I think I’m what used to be called a flat character.

There are clever linkages, including a dead journalist and vocal cords as symbols of free speech being in danger. But overall very little feels at stake for our so morally upstanding characters that their reflections on the world feel even a bit preachy or performative, rather than heartfelt or surprising.

Quotes:
He told us about St Augustine and the body being the horse and the soul its rider and that the two couldn’t be parted or that’d be the journey over.

What am I doing wrong? God. the youth of today are draconian beyond belief.
We have to, Bill said.

[s.penkevich [hiatus-will return-miss you all]]

yesssssssssssssssssssssssss can't wait

[Rita da Nova]

«Numa narrativa que nos leva entre o passado e o presente, entre a perspetiva de Petra e a de Patch, Ali Smith desenvolve muitíssimo bem o tecido desta relação entre irmãs. Não é novidade para ninguém que adoro ler sobre dinâmicas familiares, e há muito tempo que não via tão bem representadas algumas verdades da relação entre irmãos — sobretudo a linguagem própria que se cria e que vem ao de cima, mesmo quando já somos adultos. Apaixonei-me pelas duas e ficaria muito mais tempo a ler sobre a vida delas, agora que se reencontraram.»

Review completa em: https://ritadanova.substack.com/p/gly....

[Paul Fulcher · Rating 3 out of 5]

“Yeah. It was okay, I say. It was quite good. I thought it was quite well written and everything. A bit too dark for me. A bit too clever-clever, a bit too on the nose politically, for a novel. I’d have preferred a bit more world building. And what’s with all that horse stuff? It could’ve been a bit more sci-fi. But yeah, I mean thanks for sending it.”

I have to say this one was disappointing - indeed were it not Ali Smith I would probably give it 1-2 stars.

In my pre-publication review of Gliff I commented that "I suspect the real surprises of this novel (and a 5th star) will only emerge, even to the author, once Glyph is published."

But the pre-trailed novel that would tell a story hidden in Gliff, is instead a somewhat simplistic book, with some overly explicit (and defensive) nods to its predecessor, and, whereas in the Seasonal Quartet, connections between the novels built up, sometimes serendipitously, as the quartet progressed, here it feels Smith decided to just write a different book.

But then pretty much everyone - except a reviewer in The Spectator - initially missed the Autumn-Winter link in the seasonal quartet - so perhaps I have here? And the two stories are as linked as the two halves of the deservedly acclaimed How to be Both. Hence rounding up to 3 stars.

[Anna · Rating 4 out of 5]

I greatly respect Ali Smith for naming two adjacent novels Gliff and Glyph, while sympathising with librarians and booksellers who'll have to deal with the resulting confusion. Glyph is a sequel to Gliff that takes place earlier in time, seemingly following different versions of the same main characters, Petra and Patch, also another horse. Ali Smith can get away with such literary shenanigans because she's a stunningly skillful writer. Her prose is uniquely rhythmic, fluid, and gloriously pleasurable to read:

Ghosts don't exist.
They don't. End of.
Story, however.
It is haunting.
Everything tells it.
A single detail tells it endlessly, powerful how it does, how story moves through all the modernity in its ancient green clothes and shows up everything that thinks itself new as transparent, shambling, same old; story's as old as the hills itself and as brand new as everything that manages, against the odds, to grow fresh and new on those old hills.
I am, I realise now, quite frightened at its wildness and its hugeness and its persuasiveness and pervasiveness.
Perhaps my skin is thinner, after all, than everybody else decided it was.

Glyph approaches the genocide in Gaza via a teenager skipping school and family trauma via a ghost horse. The plot is loose, which again Ali Smith can carry off because her writing is so wonderful. I found this a more fragmentary novel than her best, which are Spring and Summer in my opinion, although that fits the zeitgeist. It also got a little bit too metatextual for my taste by letting its characters comment directly upon Gliff. Again, that could also reflect the solipsistic turn in media analysis. Nonetheless I found Glyph powerful and beautiful by turns. Ali Smith consistently has great insight into Britain's social fractures and anxieties, which she examines in a lyrical style. I particularly loved this turn of phrase:

You're my possible aunt, Bill says. I've got a choice here, even if you two don't.
How am I doing so far? Petra says.
Seven out of ten, Bill says.
Round about a B. That's not good enough, Petra says.
More a B plus, Bill says.
That's still not very good. What am I doing wrong? God. The youth of today are draconian beyond belief, Petra says.
We have to be, Bill says. If you're going to find yourself living in Draconia, best to speak some draconian. Just so you know what the signposts say.

[Annabelle · Rating 4 out of 5]

Oh Ali…. Wat heeft dit boek me weer gepakt, opgetild, ergens anders neergezet, mijn gedachten doen dwarrelen, prikkelen, twijfelen. Wat is haar taal rijk, en wat zijn de witte delen tussen de regels vol. Wat is verbeelding een zegen, en wat is Ali Smith’s verhalende verbeelding een kracht. Wat zijn haar personages rijk, grappig, hyper intelligent en actueel. Zij is de konigin van het persoonlijke universeel en politiek maken en wat is ze fan-tas-tisch. Glyph ga ik sowieso nog een keer lezen, ik ben verdrietig dat het uit is. 4,5 ster !

[Matthew Ted · Rating 3 out of 5]

A sequel-not-sequel to Gliff (2024), like Companion Piece was a sequel-not-sequel to the Seasonal Quartet. Generally, if comparing, I would say I prefer this odd little duology to the whole of the Seasonal Quartet, which though it had its moments, I got little from. Where that was very much a look at post-Brexit, post-COVID, post-truth Britain, Gliff / Glyph seems to be a look at Britain's place where the world is at war. Where we see genocide in Gaza livestreamed on our mobile phones on the way to work. So at its heart it's an anti-war piece, particularly this Glyph. Its motif? Horses! (It's good to listen to [Patti!] Smith's "Land: Horses / Land of a Thousand Dances / La Mer" during readings.) In this case, a horse that is blinded in the First World War by gas and is taken, by a soldier who takes off his uniform, into a nearby forest away from the fighting, because, as he (the soldier) says to someone, 'I'm going to take that horse out of this since none of it is of its making.' The tragedy is that when the soldier returns to the front, he is court marshalled and killed by firing squad. Another story involves someone being completely flattened. That person may or may not be Glyph. And that horse may or may not become a ghost that likes to destroy furniture. But also at the heart of this book is Petra and Patricia, two sisters. Many of the scenes involve them, as small children, telling each other stories. This is something I used to do with my own brother. Children teach themselves storytelling (or are we born knowing how to tell stories?). It is touching, even a little sentimental, which Ali Smith doesn't always give in to. One final thing: one of the characters gives another character Gliff. They, briefly, discuss it. In complaining about its lack of closure I wonder if Ali Smith is saying: Here, closure.

[Lien · Rating 5 out of 5]

Can’t say I understood everything but I sure loved reading this.

[Annie Tate Cockrum · Rating 5 out of 5]

I absolutely loved this book! Nobody is doing it like Ali Smith. She writes with so much heart. Glyph is a sister novel to Smith’s earlier work Gliff - the two exist on separate planes but are loosely connected. There is a real playfulness to Smith’s writing that always delights me - no matter the subject she is writing about it seems like she approaches it with a sense of whimsy. Often she writes from the perspective of children which I think lends itself to a whimsical way of looking at the world. Glyph is about storytelling and sisterhood - following two young girls in childhood and then revisiting them once they’ve grown up. I’m so thankful to have gotten a chance to read an advanced copy and recommend all of y’all snag a copy when it comes out on May 19th.

[Lesley · Rating 5 out of 5]

Ali Smith is a critically acclaimed Scottish writer & academic. In addition to her published novels & short story collections Smith has also written several plays (mostly unpublished) and is a regular contributor to a number of UK publications.
Glyph, a companion piece to 2024’s Gliff, is her 15th published novel.

The story is narrated, mostly via recollection, by sisters Petra & Patch. Close in childhood, the sisters are estranged following the death of their father. Contact is reestablished when Patch, who is reading Gliff on the recommendation of her adopted daughter, Bill, is reminded of events from their childhood and sends a copy of the book to Petra. Petra having split with her partner as well as losing her job later calls on Patch for help when the past makes a dramatic reappearance in her life.

Smith uses the framework of the siblings looking back on a traumatic period in their childhoods to cut a swathe through history placing stories of the quashing of dissenting individuals during the first & second world wars side by side with current political events ranging from government moves to repress protest, the exploitation of increasing xenophobia & racism to the genocide in Gaza.

As always with Ali Smith, there is plenty to go at. Glyph incorporates themes of individuality, independence of thought, how to find one’s way in a post-truth world.

“But I think partly I was also sick because of the pile on, the people saying it wasn’t true, because I also saw how, like, there’s this huge mechanism and it’s acting on everybody. It is such a simple mechanism it is actually stealthy brilliance. You just say something that’s the truth is a lie. Or that something that’s a lie is the truth. Then the matter of something being true or not stops being about truth or lies and becomes about choosing a side and it drops itself like a blanket over everything, a blanket the size of the sky – no, maybe more like a net, like a gigantic fishing net,”

The interconnectedness of everything, how the past informs the present, what is eternal in us are recurrent themes in Smith’s work. In Glyph, we see history loop and repeat, how the traumas of the past haunt the psyche- both collectively & individually.

Glyph also addresses the role literature & specifically the novel plays in today’s world. Petra, whose own bookshelves contain predominantly factual works is not as impressed by Gliff as either Patch or Bill,

“Yeah. It was okay, I say. It was quite good. I thought it was quite well written and everything. A bit too dark for me. A bit too clever-clever, a bit too on the nose politically, for a novel. I’d have preferred a bit more world building. And what’s with all that horse stuff? It could’ve been a bit more sci-fi. But yeah, I mean thanks for sending it.”

Smith has long been an advocate of the novel as a political form that connects “word & world”. Her 2017 Goldsmiths Prize lecture talks at length about the topic

“What can the novel do, in the age of Trump, in the age of the Nazis, in the age again of wounding and widening division and bordering? It can tell us where and how the people of the age are living it. It can tell us what it means, on the continuum, if we choose to continue to live like that. It can give us an experience that’s emotionally intelligent, a dimensionalising, inclusive experience.”

One review I read of Gliff was critical of Smith’s spelling things out too much, the reviewer felt it lessened the dread a reader experiences with writers such as Kafka where it is left to the imagination. Sometimes though things do need to be spelt out. In Glyph Ali Smith is being even more ‘blatant’ - to use her own word - naming names & carving it in stone.

If this makes the book sound heavy going, that isn’t the case at all. This is the most playful of Smith’s novels that I have read to date. Those of the same generation as Smith who are familiar with UK culture will immediately recognise Petra & Patch as the names of the first two Blue Peter dogs, Petra being the mother of Patch. I like to think of that as Smith having fun with us trying to puzzle that one out
As per usual, humour is never far below the surface and it is a delight to experience the absolute magic Smith works with words - turning language inside out and upside down. She has just as much fun with form - Smith stepping in as herself to direct the action, characters referring to themselves as ‘flat’, rather than rounded. In a time when language is hijacked, distorted and played back in its mirror world form it is sheer pleasure to see someone capable of turning it back around again.

There were a couple of occasions whilst reading Glyph that I thought of Omar El Akkad’s disillusionment at his faith in the ideals of the west. It is refreshing to see Smith nail her colours firmly to the mast.


Gliff & Glyph, hand in hand.
Several reviews have likened the pairing of Gliff & Glyph to Smiths’s 2014 novel How To Be Both made up of two separate but intertwined stories set centuries apart. The stories can be read independently and in either order - the book was issued in two editions, one leading with the contemporary story, the other with that set during the Renaissance.
Gliff & Glyph are complete novels in their own right. Reading both adds an extra dimension. Order doesn’t really matter, although personally, I am pleased I read them in the order of publication.
There are a number of parallels that can be drawn between Gliff & Glyph. Both are centred on siblings with ‘absent’ parents. Both have their biggest hope in the young.
The story of the ruler who killed his enemy only to be haunted by his death echoes the story of The Tyrant & The Ashes told by Ayesha Falcon in Gliff. Petra - the ‘rose-city of Jordan’ with buildings carved directly into the landscape brings to mind the caves that Rose & her companions fled to, as well as indirectly referencing Rose herself.
And of course those horses.

[Ruben · Rating 4 out of 5]

4,5

This is only my second Ali Smith, having only read Gliff before Glyph.

I think one of the things that makes her so good is that the characters continuously refer back to things that happened a few pages or a few chapters ago. It makes you feel fully involved and part of the conversation.

Whereas Gliff was dystopian, Glyph is set in current times, but there is a similar sense of disorientation in the first part of the book as you only get to see glimpses of the overall story, that you can then piece together in the second part.

The political messages are unapologetically 'blatant' - I had no problem with that at all: it's how people talk and think. In fact, the dialogues are a real joy too and (most) witticisms too.

I will admit I would have liked a stronger link with Gliff and see some of its open ends closed.

As it is, I will very likely need a re-read (or a good long analysis by a more thorough reader) to uncover all the interconnections.

[Madeline Tyler · Rating 5 out of 5]

Stunning! The best writing of children since Elena Ferrante's My Brilliant Friend and Yiyun Li's The Book of Goose. All about stories and storytelling, ghosts, sisters and memory. Loved!

[Alice Watkinson · Rating 5 out of 5]

Literary fiction is very much alive. Ali Smith pumps it with fresh, ruby blood.

[Jeltje · Rating 4 out of 5]

ik ben weer even opgeladen nu ik eindelijk weer een nieuwe ali smith heb gelezen!!! niet haar sterkste boek maar wel één van de meest liefdevolle. de dialogen die ze schrijft (voornamelijk tussen kinderen, in dit geval twee zussen) zijn ongeëvenaard en altijd zo geweldig om te lezen. vond het ook echt heel leuk hoe Gliff in dit boek terugkwam als een boek dat de karakters hadden gelezen (en niet zo goed vonden, lol) en dat het weer horse themed was !!! vond het eerste deel echt prachtig, in het tweede zakt het wat in en verliest het wat aan haar magie, maar wie kan moeilijk doen wanneer ali smith zo prachtig, grappig, talig, en gevoelig schrijft, zoals altijd, wanneer ze telkens weer de juiste snaar weet te raken. <3

“Ghosts don't exist.
They don't. End of.
Story, however.
It is haunting.
Everything tells it.
A single detail tells it endlessly, powerful how it does, how story moves through all the modernity in its ancient green clothes and shows up everything that thinks itself new as transparent, shambling, same old; story's as old as the hills itself and as brand new as everything that manages, against the odds, to grow fresh and new on those old hills.
I am, I realize now, quite frightened at its wildness and its hugeness and its persuasiveness and pervasiveness.
Perhaps my skin is thinner, after all, than everybody else decided it was.”

[Luke McCarthy · Rating 4 out of 5]

Reading Ali Smith is always a pleasure. Despite the intricate wordplay, I always feel that her work is quite uninhibited. It’s like we are witnessing someone think/discover a thought. I found the relationship between the two sisters here really moving.

[Melanie · Rating 4 out of 5]

“Ghosts don't exist.
They don't. End of.
Story, however.
It is haunting.
Everything tells it.
A single detail tells it endlessly, powerful how it does, how story moves through all the modernity in its ancient green clothes and shows up everything that thinks itself new as transparent, shambling, same old; story’s as old as the hills itself and as brand new as everything that manages, against the odds, to grow fresh and new on those old hills.”

After the allegro comes the adagio.

If “Gliff” was the first movement of this symphony, all brisk, thriller-esque and dramatic, “Glyph” is the second movement, all introspective, musical and melancholy. After the first shock of the song, it’s time to pore over the lyrics.

If this text is played in a slightly different key, slower and more diffuse, its universe remains engrossing. Ali Smith does it again. She’ll have you eating straight out of her hand.

Sisters. Daughters. Mothers. Fathers. Adopted daughters. Ghosts. Imagined and real. Strangers. Past and present. Histories. Stories. Passed down from generation to generation, whispered, forgotten, rekindled and reshaped. From fact to fable to myth. War. Soldiers. Resistance fighters. Journalists. Horses. Horses. Horses.

All of Ali Smith’s legendary playfulness [listen to her speak one day if you get the chance, all jazzy and passionate, her voice in a mad race to try and keep up with her thoughts] and radical attunement to our present moment(s) are all at play here.

Glyphs. Stories. Symbols. Denominators. Carvings.
All here to decode and unflatten our world.
All here to give a voice to what we cannot speak.

Let the ghosts in.

[Maria · Rating 5 out of 5]

The sisters’ relationship is beautifully constructed, the way they navigate impending grief, and how that same bond is what ultimately drives them apart. One of my favourite Ali Smith novels.

[Ryan Davison · Rating 4 out of 5]

In 1996, two young sisters are at a family anniversary party when an old lady tells them about a flattened body she encountered on a French road during WWII. An odd story indeed but it begins older sister, Petra, pretending to be able to speak to the dead man in order to calm her somewhat traumatized younger sister's nerves. Well, neighborhood rumors circulate, and Petra gets the reputation of a medium. A girl appears on their doorstep begging to talk to her dead dog, adults appear with wads of money insisting to speak to lost loved ones, and ominously, Petra is warned by her dying mother to stay away from these dark games.

An intriguing mystical vibe runs through Glyph, and the plot begins and advances in modern day, while gradually flashing back to the sister's childhoods in 1996. But expect the nonlinear, for there are scenes that include the the flattened man (pre-flattening), a blind horse, Petra’s sister’s very entertaining adopted daughter, and other bits and pieces. This is a nontraditional narrative in many ways but the prose is extremely well constructed and full of word play. We drop into each new sequence smoothly because of its authenticity. The dynamic between the sisters keeps the reader most interested in this radically creative book with a lot going on.

Perhaps the invented a ghost to prepare for the passing of their own dying mother but no matter the reason, the author prunes the concept in wildly imaginative ways. This is a book to read and discuss, as you are left reflecting on the ideas presented well after the last page.

Highly recommended to fan of literary fiction. Thanks to NetGalley and Knopf, Pantheon, Vintage, and Anchor for a review copy.

[Wout · Rating 5 out of 5]

Een teder spookverhaal voor onze tijd

[Subilia · Rating 4 out of 5]

ali smith the woman that you are ❤️

[Allison · Rating 4 out of 5]

I received this as an ARC and was unaware it was a sequel of sorts. That being said, it was a great read as a standalone novel. The prose was truly beautiful to read. The interactions between the sisters at different ages perfectly encapsulated what it is like to have a sibling; those late night conversations and the innate act of helping your sibling feel better or safe. I will be picking up Gliff next as I am not ready to for this to end yet.

[Josephine]

Ali Smith is zo magisch en slim. Ik wil Gliff nu meteen weer lezen en alles uitpluizen, het is zo mooi en complex. I lof Ali Smith.

[celia · Rating 5 out of 5]

what can i do?
what could i ever do?
i phone my sister.

leí en alguna reseña que esta novela se siente como ali smith repitiendo una y otra vez sus mismos temas. ya lo sabéis: me da exactamente lo mismo. sus temas son temas importantes, en el sentido político, y que sus novelas siempre estén atravesadas por ese clima me parece necesario.

luego, que hable cuarenta mil veces de la relación entre hermanas, de ser queer, del lenguaje, de la memoria, del activismo, de la importancia de los espacios compartidos, que no deje de escribir nunca.

[Emma Rund · Rating 5 out of 5]

Ali Smith, my girl! Yet another hit.

'Ghosts don't exist. They don't. End of. Story, however. It is haunting. Everything tells it."

Ali Smith is an author who loves to play with words. Maybe it trips you up a little now and then, but I read it as little bursts of poetry. There are so many double meanings in her work that I love to stumble upon.

Glyph, a follow up to her novel Gliff, tells the story of two sisters, Petra and Patch, as they imagine dead people (and a horse) back to life. I think Glyph might hold different meanings for every reader, but for me, Glyph is about learning from the past, being crippled by empathy for other people's pain and suffering while the rest of the world seems not to care, sight-or lack of it, horses, death, truth, and storytelling (both the good and bad kinds). I think I'd need to read this about four more times to parse through all the recurring motifs, but even on a first read this was deeply affecting, and I love every minute of it.

I'm buying a physical copy as soon as this comes out so I can annotate it to bits.

[Rendezvouswithbooks · Rating 4 out of 5]

Although rooted in present world 2026, Glyph is a story of siblings- sisters Petra and Patricia. While grieving with the loss of their mother & battling an abusive father, they invent a game called Glyph - where they make up stories about communicating with ghosts
Estranged for many years, the sisters finally meet after the ghost of a blind horse from their childhood suddenly reappears in Petra's home one day
This book also shares many anecdotes about the horrors of war

Both the books Gliff and Glyph, explore sibling connection, loss of parent, use of horse as metaphor

I am not going to spoil it for you but the way in which Smith has hidden Gliff in the Glyph, she has played the ball out of the park
Reading the books in publication order shows how intelligently Smith has created this Möbius strip

Writing is extremely readable, laced with humor & characteristic Smith wordplays. I don't even remember the last time I laughed so much

Read it

[Joe Morris · Rating 4 out of 5]

I mean, it's not that we weren't used to seeing the dead.

A story about stories, containing stories within stories, about stories, referencing other stories.

Less of a linear narrative than Gliff but equally as compelling. Happy to admit that I didn't fully understand everything going on, but that's the joy of an Ali Smith novel. So much to unpack and so many playful choices of language that I'm sure would benefit from a reread (and re-reread).

The stories-within-stories nature of the book reminded me quite a bit of House of Day, House of Night. Both excellent reads that are political and deal with memory in an impressively nuanced way.

Shame this is only going to be a duology. I'd be very happy to read a Gliph/Gleipgh/Glith?

[victoria marie]

ordered & en route!