Nobody else write a novel with multiple POVs because this was perfect. An actual marvel on a technical level, like I'm stunned and floored at how a writer's mind can work on such a densely-woven scale. The Bee Sting is about the perpetuation of shame, a family followed by a haunt of bad luck and trying to correct course; it uses the framework of Pet Sematary to question the deterioration of a family, how sometimes things come back up to the ground and they're different. This is a novel of interconnected existential crises, of people realising they're not exactly the people they've told themselves they are, that maybe they never were. People doing the wrong thing, headed down the wrong path, and still completely unable to change. I was put off by the middle section of the book, as some POVs clocks in at multiple hundred pages, but Murray changes the very foundation of his novel, with sections absent of punctuation; others with back-and-forth flashbacks; the final act inexplicably and masterfully changes grammatical person. Each section is simultaneously complex and deftly interconnected. At the midway point, I was questioning if this really needed to be as long as it is – now having experienced the racketing tension of the final act, the page count is more than justified. For as long as it is, all the roads narrow down and lead to a singular point. This is S-tier structuring. Hilarious and gut-wrenching and horrifying and brilliant.