Kudos concludes the extraordinary trilogy that began with Outline (2014) and Transit (2016). Following the distinctive format of the first two books, Kudos is structured by a series of conversations between the narrator (a writer named Faye, who seems to be a barely disguised version of Cusk) and various interlocutors, in which the narrator herself speaks barely at all. As before, there is nothing much in the way of a traditional plot or narrative. The trilogy’s profound emotional weight exists in strange contrast to the seemingly weightless quality of the prose, translucently clear, somehow communicating deep feeling and loss through a seemingly dispassionate medium. The effect is one of paradoxical intimacy and distance, and a voice like no other in contemporary fiction.