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strikes a false note; in a marvelous control of time, where flashbacks are used underringly to create the flow of time which is the mind's time rather than the clock's time; and in a beautiful instinct for structure and form.  The entire flow and pace of the novel is absolutely right.  As Emily Dickinson said, memorably, "I know that I'm reading a great book when I feel as if the top of my [[strikethrough]] were[[strikethrough]] is being blown off."  From start to finish [[underline]] Another Country [[underline]] has that perfection of tone and of emerging form which makes reading a creative experience every moment of the way, and which will make re-re[[strikethrough]] d [[/strikethrough]] ading a rediscovery.  In its perfection of form, [[underline]]Another Country [[underline]] is a greater book than Styron's [[underline]] Set This House on Fire[[underline]], though it shares [[strikethrough]] pass [[/strikethrough]] Styron's passionate intensity.  In its passion and richness of invention, [[underline]]Another Country[[underline]] makes Updike's perfect, small books seem, if anything, somewhat precious.  
   Six months before publication is a dangerous time to predict the fate of a book, and I can see that [[underline]]Another Country[[underline]] could have a tough time with critics and even with censors.  Nevertheless, it is a book of the very first rank, greater than nearly all of the American classics of the twenties and thirties.  It is the first American novel of our time to see in the round the total dilemma of twentieth century life, where there is really only one race -- black and white -- all equally human, all equally submerged in the same disasters.  As such a novel, if our civilization endures, [[underline]] Another Country [[underline]] will someday rank with the very best of Melville, Whitman and Joyce and with the great literature of earlier centuries.