The protagonist of Meg Mason’s new book, the follow-up to the 2020 tragicomedy Sorrow and Bliss, is an invisible woman. She might well be standing there but you won’t notice her. She’s a techie at literary festivals – the person who shuffles up to a famous writer a few minutes before their event and apologetically slides a microphone cable down their shirt while they’re making small talk with the chair or accepting a bottle of room-temperature mineral water from an anxious publicist.
No man is a hero to his valet, and no writer is a hero to the technical staff lurking in the wings of a venue. Mason’s opening pages present a teasing but not quite libellous series of cameos from real writers: George Saunders deciding at an inconsiderately late stage to insist on swapping his headset for a lapel mic; Ann Patchett being frosty with a fan; Mick Herron accidentally stepping on someone’s foot and not apologising.
