Half sentences, fragments, broken syntax and line, dialect, sometimes no punctuation. The linear narrative under reconstruction, jackhammer to the fourth wall of fiction, the suspension bridge of disbelief like the London Bridge of the nursery rhyme, falling down. Busting the glass ceilings....Nobody is going to accuse Smith of being straitlaced or staid, of pandering to her huge audience or of writing a “perfect” novel. Instead, Smith seems to be out to undo the conventional novel. Do the narrative hijinks pay off? Smith derails the reader from the worn ruts of what to expect, provokes surprise. She tests the support beams of plot, knocking them down when she can....Lisa Moore’s stage adaptation of her novel, February, premieres at the Alumnae Theatre in Toronto from Sept. 21 to Oct. 6.

At these times and others it’s hard to shake the sense that all the experimentation is more fun for the author than illuminating for the reader. Why exactly, for example, are those vignettes numbered? And what’s the significance of the number 184? The mere asking of such questions is an annoyance, taking up energy that would be better spent savouring the novel’s strengths...Here, then, is a tricky case. This reviewer finds himself in the strange position of calling NW one of his favourite books of the year, yet being unable to recommend it wholeheartedly. Like John Lanchester’s Capital, another recent novel that sought to capture the ever-shifting essence of today’s London between two covers, NW proffers a rich and varied banquet yet leaves the reader’s hunger ultimately unsatisfied.

As a writer, Smith finally seems perfectly at ease: less like she’s trying to please and more like she’s delighting in her jaw-dropping mastery of language and dialect. This is, hands down, her best novel to date.

The trailing plot threads aren't exactly tied off, more tucked back in. The real mystery of NW is that it falls so far short of being a successful novel, though it contains the makings of three or four.