![]() ![]() Is the folkloric world of 10-year-old Pia's imagination – with its Brothers Grimm-style perceptions – the best way to approach the disappearance of Pia's friend Katharina, rather than more prosaic solutions? We are allowed – invited, even – to change our mind constantly about the protagonist. ![]() When you read The Catcher in the Rye as a teenager (as you should), you tend to think of Holden Caulfield: "What a puncturer of phoniness!" And when you read Salinger's novel again as an adult (as you should), you tend to think: "What a naïve and self-regarding little prig!" Such a shift of point-of-view – from youthful identification to adult distance – is crucial to our response to the child narrator of Helen Grant's The Vanishing of Katharina Linden.Ī single encounter with this remarkable novel is all that is needed for us to perform this juggling of perspective. ![]()
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