With the publication of The Lesser Bohemians, Eimear McBride has proven that her broken, intuitive style can transcend the nuanced success of A Girl is a Half-formed Thing. Though McBride has been zealously compared to such modernist giants as Joyce, her syntactical innovation is employed to different ends, and her concern with trauma and shame defy easy contextualisation. How does McBride employ and expand modernism? Is it her rendering of fragmented, burgeoning female subjectivities that defines her? Or is it her continuing to push form at the level of the sentence?