One measures a circle, beginning anywhere.- attributed to Charles Fort, Lo! (1931)The plot is not driven along in the way of a crime story, nor does any sharp conflict define the action.
And yet, events all seem secondary to the cross-references, literary allusions, and echoes which events leave scattered throughout the text.// If there is an underlying oneness of all things, it does not matter where we begin, whether with stars, or laws of supply and demand, or frogs, or Napoleon Bonaparte. It's not that the story is empty, in fact there's a satisfying resolution to the mystery of his labyrinthine plot. Turning the last page, the strongest impression is of these layers of detail. Not only the reader but also family members are confused about the influence and indeed the very existence of the Faery, and this ambiguity suffuses the entirety of plot and setting.This premise, anchored both in ambiguity and (seemingly at random moments) in crystalline but fleeting scenes, provides a diorama in which Crowley builds up a richly detailed world. Key to the myriad social relations is an underlying relationship with the Faery, elusively described but quite definitive in its broad integration with the families.
Locus of action is a country manse and a city tenement. Little, Big mirrors a soap opera: two American families, linking back to a third family in Britain, are followed over 2-3 generations.
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