The author takes this sad but simple fact of the death of a down and out and sets about trying to reconstruct the events that might have led up to the death. It makes me feel primitive, rooted, connected to the dirt of the earth and the light of the stars, a spun thread pulled across the span of generations. The event is one thing, and a second story line is what is going on in the ordinary prosaic lives of the dwellers of the apartment complex (numbered from flat number 11 to 22 I do believe).

While this text is set from a third person viewpoint, it also uses an interesting narrative technique, which is known as 'free indirect discourse' or 'free indirect style'. While the style is avant-garde, a kind of collage, rather than realist (McGregor doesn't like quote marks to denote dialogue, for instance, and his prose dips into a strongly poetic idiom at times), there is a drive to render the direct experience of the characters who populate the street: the "remarkable things" of the novel's title are very much the everyday. Blonde, young, wearing glasses and watched from afar by an admirer, she battles with her news: "And at work I spent the whole day trying to decide how I could tell someone, who could I tell". I knew a woman whose granddad had died on the same day as Diana did, and she was very upset about how everyone was talking about Diana but nobody wanted to hear about her granddad.But then a terrible event shatters the quiet of the early summer evening, and those who witness it will be forever altered. The novel is narrated from two points of view: first, through a woman who witnessed the central tragedy; and second, from the quasi- omniscientperspective of the neighborhood itself. Despite this crowded neighborhood and closeness to the police department, none of the neighbors saw anything helpful on the morning of the murders. And every minutiae shines under Mcgregor’s omniscient magic wand instrumenting a succession of recurrent themes, pattern of symbols and repeated sentences that evoke a mollifying chant and bemuse in almost supernatural revelation. Now his first novel has made it on to the Booker prize longlist - and he's as surprised as everyone else.

Jon McGregor’s novel If Nobody Speaks of Remarkable Things follows the novel-in-a-day format and takes the reader through the day of a regular neighborhood in England. In We were just driving around a group of university students discuss their futures and playfully mock one of them who wants to market handmade gourmet snacks (I’ll be filling a niche, big time”) as they cruise by car over the Lincolnshire Fens.I wondered if I moved to somewhere there were no people at all, that's what it would take for me to get well again. Interspersed throughout, however, is the first-person voice of a young woman who has recently discovered she is pregnant, and who looks back at the events which took place on the day in question.

Outside there were so many people that their smells and colours, movements and sounds blurred together. By tradition, most audiences, when given a dead body, would expect a complicated plot with foul play, a suspect perhaps, a detective, a motive and inevitably, an arrest, but they would be disappointed here. He says, there are remarkable things all the time, right in front of us, but our eyes have like the clouds over the sun and our lives are paler and poorer if we do not see them for what they are. The United Kingdom's international organisation for cultural relations and educational opportunities. It's a poem of a novel, built from the languages of senses: sounds, emotion, taste, colour and light explode.Still, McGregor finds the idea that his name is now bracketed with such literary big-hitters as William Boyd, Anita Brookner Will Self and Linda Grant, "quite alarming". I wanted someone to see me, I wanted someone to come rushing in, to take hold of me and say hey hey what are you doing, hey come on, what's wrong. By giving voice and detail about such persons, by seeing them as individuals and showing the workings of their minds McGregor gives them an identity, a humanity that is unusual in literature.

The various people inhabiting the houses experience the same weather, the same noises, but a multitude of different types of crisis. In the book Everything I Never Told You, there are many different elements and techniques used within the book. the reader is left to conclude that what happens behind closed doors can be just as momentous and life-changing as what takes place in the public domain. There are two narrative streams in the book – a description of the processes that take place when a person dies unexpectedly which is told in a bland, matter of fact way, almost as if it were a police report. Alternatively in this novel namelessness distinguishes the characters by simple descriptors and their practices, allowing full development and inhibiting any racial bias by the reader.A group of people in an apartment complex are supposed to witness an event which will be seared into their memories. Further, once the details are made known, the darker sides of the lives of all of the neighborhood’s characters are suddenly illuminated as well. But here, as the dawn sneaks up on the last day of summer, and as a man with tired hands watches a young couple dance in the carpark of his restaurant, there are only these: sparkling eyes, smudged lipstick, fading starlight, the crunching of feet on gravel, laughter and a slow walk home.