The historical novel has always been characterised by a formative tension – the demands of history versus the demands of story. The author is caught between relegating the past to a prettified background, or the characters to merely personified social forces. Michelle Aung Thin’s début novel tends more towards the former than the latter, illustrating both the dangers and the pleasure to be found in negotiating between these poles.
Read the rest of this article by subscribing to ABR. We offer a range of subscription options, including print, which can be found by clicking here. If you are already a subscriber, click 'Sign In' in the top left-hand corner of the screen. If you require assistance, contact us or consult the Frequently Asked Questions page.