This book offers a comprehensive reassessment of the work of Carol Shields. Arguing against enduring conceptions of Shields’s fiction as celebratory domestic miniaturism, the study presents her work as more expansive and equivocal than has sometimes been recognised, reading her texts as liminal spaces situated on a series of formal and thematic borders. Close attention is paid to Shields’s stylistic experimentation, to her subversions of auto/biography and historiography, and to the significance of her critical writing, while works which have previously received very little analysis, such as her early poetry collections, are also examined. Intertextual links between Shields’s work and that of a range of other writers including Phillip Larkin, Iris Murdoch, Alice Munro and Margaret Atwood are identified and explored, and the study also draws extensively on manuscript materials which give an insight into Shields’s working methods and extend debate about her experiments with narrative perspective and genre-mixing.