Jennie Erdal’s Ghosting is a literary feast which effectively deconstructs the writing process and sheds light on the enigma of ghost writing. Each character is immediately bought to life, particularly the key player Tiger, the pseudonym Erdal gives to the man she spent years working for, writing articles, even novels, under his name. He is ebullient, absurd and charismatic, a one man theatre. Erdal reveals how she tried to use semi-colons as frequently as possible because they were his favourite type of punctuation and the difficulties she encountered when the main criteria for ‘his’ novel was the inclusion of simultaneous orgasm between female twins.
She struggles inwardly as she tries desperately to appease him, her considerable intellect suffocated in writing slushy romance novels. And indeed, Erdal shows great literary talent, her love of language spilling out of every page. She pays frequent homage to philosophers and writers, untangling their theories on time and creativity, making the most complex statement accessible.
Ultimately, Ghosting shows itself to be a great novel by creating more questions than answers, making one marvel at the sheer ingenuity of writing.