Masterson – representative of Wand Publishing Milward Crispin – Literary agent Fan Brady – exotic snakedancer, provides Morag with lodging as she works on her writing. Carol – Teenage babysitter in Kitsilano, Vancouver Harold – broadcasters, reads the news, has an affair with Morag Chas J. Sampson – bookstore owner, “Agonistes Bookshop” in London, High Street. Daniel McRaith – Highland Scotsman who meets Morag, has an affair with and later revealed to be a father of seven children with his wife Bridie. Morag accompanies Daniel to Scotland on a symbolic pilgrimage to find out about her clan roots. Hector Jonas – owner of Jacopina Chapel, funeral home in Manawaka during Christie's funeral. Students from the Manawaka school Stacey Cameron Mavis Duncan Julie Kazlik Ross McVitie Mike Lobodiak Al Cates Steve Kowalski Jamie Halpern Eva Winkler – One of the few individuals from Manawaka that Morag likes speaking with, Winkler also takes care of Prin during her later days coping with obesity. Vanessa MacLeod – a reference to Laurence's separate work, “A bird in the house” where she explores the lives of the MacLeod family. Laurence's interest is in the prairie literature and how life functions within the vastness of the Canadian landscape. Genre and style Critics have argued that The Diviners is a künstlerroman (a novel that follows the growth and development of an artist, like James Joyce's A Portrait of the Artist as a Young Man). According to Nora Stovel, Laurence uses three methods to dramatize Morag's creative development: "first, she employs a tripartite educational model of reading, critiquing, and writing. Moreover, she includes mentors – Christie Logan, Miss Melrose, and Brooke Skelton – who teach Morag to read and write. Most important, she embeds Morag's fictions in the narrative to illustrate her literary development". In addition to being a künstlerroman, the Diviners is metafiction, as it dramatizes Morag's internal and external life as a writer. This is evident in the way Laurence frames the novel with “images of Morag, the writer, seated at her kitchen table in front of the window, overlooking the river, trying to write, in the Now of the novel”. These images dominate the frame sections of the novel – the first section, River of Now and Then, and the last section, The Diviners. Stovel notes that Morag reflects Laurence herself, and that she gives the reader a glimpse into her creative process through her