There's a certain amount of fatalist weirdness in all of this - the mark of an author who isn't quite comfortable with the idea of the procession of time. It seems much more fit to an exercise where the two separate plotlines (in attic and not-in-attic) are widely spaced then a tense danger scene.
Then again, maybe I'm reading it wrong.
Anyway, the city is now on fire, so I'm sure she's done just about as much damage as the spies ever did.
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Then again, maybe I'm reading it wrong.
Anyway, the city is now on fire, so I'm sure she's done just about as much damage as the spies ever did.
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