I feel that unlike *Strait Is The Gate* which reads as very much of its time, *The Counterfeiters* has aspects that still read as surprisingly contemporary: the relatively modern concept of disaffected adolescence, the occasionally fluid queerness of young Olivier and his friends, the «meta» conceit of the fourth-wall breaks & novel-within-a-novel, the almost cinematic quality of intercutting multiple points of view (taken further by John Dos Passos in his sweeping *USA* trilogy, and then Sartre in *The Reprieve*).
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I feel that unlike *Strait Is The Gate* which reads as very much of its time, *The Counterfeiters* has aspects that still read as surprisingly contemporary: the relatively modern concept of disaffected adolescence, the occasionally fluid queerness of young Olivier and his friends, the «meta» conceit of the fourth-wall breaks & novel-within-a-novel, the almost cinematic quality of intercutting multiple points of view (taken further by John Dos Passos in his sweeping *USA* trilogy, and then Sartre in *The Reprieve*).