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"In Gunn’s narrative, we switch channels back and forth between the tempestuous reunion in 2002 and the Santoro family’s hardships from Mussolini’s era onwards. . . . Gunn’s depiction of David as the bewildered confidante and reluctant siphon for his aunt’s tale of woe is perfectly drawn. He doubles as a cultural translator for the novel itself, unexpectedly
immersed in passionate Italian intrigues as a polite, trustworthy, respectful
and somewhat aloof Canadian.Gunn succeeds in making us curious; and she succeeds in making us care about the characters. Solitaria is a deeply moving, intellectually stimulating, complex and fully realized novel..."                                       – BC Bookworld

"A rivetting tale of sacrifice and obligation, of vision and revision, of vengeance, betrayal, and ultimately, redemption. Through the brilliantly quixotic voice of Piera, Gunn enlivens the Italy of the 1940s and deftly draws us into the complex, compelling story of la Solitaria. With a filmmaker's eye for sharp shifts in point of view and a master storyteller's ear for spoken and unspoken truths, Gunn keeps us wondering to the very end, Who in this family can we believe?"
                      – Merilyn Simonds, author of The Holding

"[Gunn] brings dusty Italy to life, moving from 1926 up to 2002. [She] gives us the poverty, the clearly defined sex roles, a Canadian confusion when confronted by vendettas, and she manages to have seven different voices speaking solo, then in harmony, then in spiteful duets. There's even a surprise crescendo at the end. . . . as [characters] give their versions [of the story], and fill in the blanks, we are reminded that a traffic accident seen by seven different people may have seven different versions. But only Piera knows the most important facts -- and like any good storyteller she knows when to pause, so that the rush to the revelation at the end has the most power. Like a good aria.”      – Winnipeg Free Press
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