Kathryn Scanlan’s Kick the Latch vividly captures the arc of one woman’s life at the racetrack – the flat land and ramshackle backstretch; the bad feelings and friction; the winner’s circle and the racetrack bar; the fancy suits and fancy boots; and the ‘particular language’ of ‘grooms, jockeys, trainers, racing secretaries, stewards, pony people, hotwalkers, everybody’ – with economy and integrity.

Based on transcribed interviews with Sonia, a horse trainer, the novel investigates form and authenticity in a feat of synthesis reminiscent of Charles Reznikoff’s Testimony. As Scanlan puts it,

‘I wanted to preserve – amplify, exaggerate – Sonia’s idiosyncratic speech, her bluntness, her flair as a storyteller. I arrived at what you could call a composite portrait of a self.’

Whittled down with a fiercely singular artistry, Kick the Latch bangs out of the starting gate and carries the reader on a careening joyride around the inside track.