Pitch-perfect in every tone, note and detail, the (un)glamorous world of book publishing is an excellent lens for John Purcell’s examination of what it means to balance ambition and integrity. The Girl on the Page starts as a satire, but quickly subverts initial expectations, adding on layers of emotional depth and complexity to its characters with every page, creating evocative portraits of brilliant creative minds in crisis.
Amy Winston is a hot-shot young editor in London who made her name — and a fortune! — turning an average thriller writer into a Lee Child-esque mega-bestseller. But while her professional life is all roses, her personal life is a mess. Not to disparage her life of hard-drinking and bed-hopping, but it’s not exactly conducive to long-term happiness and continued success. Her new assignment — guiding literary great Helen Owen back to publication — isn’t an enviable one, but if anybody can fabricate a bestseller, or at least something that’ll earn back a smidgen of Helen’s outrageous advance, it’s Amy Winston. But when she arrives at the doorstep of Helen Owen and her husband, Booker-shortlisted author Malcolm Taylor, Amy is confronted by more than just a questionable manuscript: the marriage between this literary power couple appears to have fractured as a result of Helen’s new book, which Malcolm as deemed unworthy of her true talent. Which puts this trio in a terrible position, where either decision — to publish, or to not publish — will result in ruin.
Purcell vividly realises his characters’ emotional journeys, and the reverberations of their fortunes and fates will be felt by readers long after they’ve closed the book. You could strip The Girl on the Page of all its publishing insider juiciness; what remains is a searing take on integrity, commerce, and the consequences of compromise. Purcell is a born storyteller, having spent a lifetime surrounded by books and learning from the masters of the craft. The Girl on the Page is moving, hilarious, and ultimately heart-wrenching. It’s a love-letter to literature, sure; to its creators, and its readers. But it’s so much more than that, too.
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