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But while she has set herself such arcane formal constraints, much of the novel’s appeal lies in the fact that it is a compulsive thriller. Catton describes herself as „very strongly influenced by long-form box-set TV drama â¦ at last the novel has found its on-screen equivalent”. This is a book to curl up with and devour, intricately plotted and extravagantly described, a pastiche of the Victorian sensation novel in the same smart yet playful vein as Sarah Waters. There are drug dealers and prospectors, prostitutes and con artists, secrets and plots galore: the book is sprinkled with gold dust and soaked in opium. New Zealand literature lacked a Victorian epic: Catton has set out to fill that gap while, like Michel Faber in his neo-Dickensian novel The Crimson Petal and the White, peering through doors Victorian writers had to keep shut.