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Layers of images captured in fractured time rather than a linear narrative of events, the core of experience illuminated by imagistic brilliance rather than told as a conventional story, reality as a resurrection of memory in which time past is a continuously assertive time present—these are some of the elements that form the style of Kensington Quartet, a novel in which the principal character could as well be London as its main protagonist Max who roams its parks associated with his successive loves, returning always to Kensington Gardens, until in the novel’s final sentence of nearly six-hundred words, its soaring and flowing rhythm not unlike a string quartet’s haunting concluding movement, he embraces all of London.