The second book in the Outline trilogy. These books are so unconcerned with plot, or maybe it’s better to say they push against the expectation that plot is the reason for a novel. There were moments reading Transit where a scene unspooled slowly, taking me along, building tension, until I realized I was feeling like I was holding my breath, and all of this was being generated by characters on the page telling a story. I’m ignorant of the particular style/movement that Cusk is continuing/building with these books, but I definitely sense some of the formal hallmarks.