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For some writers, the end of a chapter is little more than a pause for breath. For the audacious British novelist David Mitchell, the chapter is the organizing principle of his imagination. His first three works--"Ghostwritten" (1999), "Number9Dream" (2001), and "Cloud Atlas" (2004)--are divided, with almost fetishistic care, into sections that resemble the movements of a musical composition. The sections are presented as independent narratives, divergent in theme and tone, which are carefully tethered to a larger design.
The Mitchell method reached a height of virtuosity in the entertainingly kinetic "Cloud Atlas," in which six archly distinct narratives--each ...