First, Miller discusses the unknowable interior lives of children, reads poems from his new collection We the Jury, and talks about connections to his essay “ Learning to Write About Your Own Children.” Later, Gaffney reads an excerpt from her 2014 novel, When the World Was Young, and discusses how the traumas her child narrator survives during WWII compare to the challenges children have faced during COVID-19. Ganeshananthan to discuss writing from the point of view of children before and during the pandemic. But flaws like this are a small part of a large story loaded with tension.Poet Wayne Miller and novelist Elizabeth Gaffney join co-hosts Whitney Terrell and V.V. She suggests the killer is someone other than Dolan yet does not provide a motive. The biggest problem is accepting Gaffney's version of the brush maker's murder. Is Frank not the man he seems? Trouble is, the motivation is murky. If Frank realizes the nature of Beatrice's feelings, what new danger will befall him? Readers also know that Frank, a newly arrived German immigrant, had changed his identity before coming to America, where he changed it several more times. The omniscient narrator makes each chapter a cliffhanger and baits the reader: Readers know that Beatrice cares about Frank but is avoiding a confrontation with Dolan. (Gaffney's use of the occult on several occasions detracts from the plot.) To get away from everyone, Frank rents a room at the Brooklyn farmhouse of the brush manufacturer, whom he meets after returning a lost cow he had first seen in a dream. Always anxious, Frank daydreams about Beatrice, but since Beatrice seems to care about him one minute but not the next, he finds little relief. And when he eludes her, he runs into Luther. When Frank escapes Dolan, he finds Dolan's mother hot on the trail.
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