'The ensemble cast of this first novel ... is ... constantly on the make -- for sex, social advantage, financial gain or some combination thereof. In other words, they're exceedingly entertaining... The moral of the story is that there isn't any -- and that's part of the wicked charm of this satirical romp, which mixes insights on the politics of influence and of intimacy with a gossipy, buoyant insouciance.' -- Barbara Carey Toronto Star 'The Sixties, though much written about, are not easy to get right in fiction or film... What Denoon brings to the mix is what was missing at the time: wisdom... [Her] portrait of the tight, incestuous world that formed the Toronto art scene in '67 thoughtfully skewers it, while magically bringing it to life.' -- Nancy Wigston Books in Canada 'Toronto visual artists and mavens who came of age in the late 1960s will likely find Anne Denoon's first novel a delight -- when they're not cringing at its satiric pricks... Gender disparities and furtive sex-capades are recurring motifs, pursued with a keen, sometimes touching eye for the ridiculous.' -- Jim Bartley Globe & Mail 'Denoon does a remarkable job of mixing and matching her creations ... as assignations go wrong and flirtatious behaviours and sexual innuendoes are misinterpreted... There is a forgery, a painting is vandalized, there are at least two deaths, and the pretentious art community is wickedly satirized in an entertaining manner.' -- W.P. Kinsella Books in Canada 'The novel explores, perhaps explodes is a better term, the idea of value in art by playing a kind of mystery with a painting and its copy. Egotistical artists make for good stories, and this novel is no exception.' -- Antanas Sileika CBC Hot Type 'Anne Denoon really knows how to take you back... [She] is skilled at evoking the time and place... Denoon also knows something about art, how it's dealt, how talent often doesn't matter and how success can be based on a fluke. Definite fun.' -- Susan G. Cole Now
