Over at the New Yorker, Lucy Ives writes about how some recent works of fiction challenge conventional definitions of historical fiction by “offer[ing] a past of competing perspectives, of multiple voices.” Citing works by Danielle Dutton, Marlon James, and John Keene, Ives notes:
These fictions do not focus on fact but on fact’s record, the media by which we have any historical knowledge at all. In so doing, such books call the reader’s attention to both the problems and the pleasures of history’s linguistic remains.
