‘She had told the lovely-haired maids in her house to set a great three-legged cauldron over the fire, so there could be hot water for Hektor’s bath when he came home from battle – poor child, she did not know that far away from any baths bright-eyed Athene had brought him down at the hands of Achilleus’.
When characters in narrative fiction engage in direct speech, we read via a narrator’s quotation the perspectives, thoughts, and interpretations of those characters on events (past, ongoing, and prospective) in the storyworld in which they operate. And when they don’t speak? We might have difficulty reading them.
‘When he stretched the great bow into a circle, the bow twanged and the string rang out and the arrow leapt – sharp-pointed, eager to fall among the crowd.’ Thoughts on narrative duration using examples from Greek Epic: Gods, Archers and Stretching Time in the Iliad and Argonautica.
A return to allusive space. Fallible memory and fictional memory. Tracking weavers of text and following poetic threads in Ovid’s Metamorphoses; from the daughters of Minyas to the Fates, from Rome to Alexandria and back again.
Twine’s a user-friendly story-building tool that I’ve (mis-)used to make a short interactive reading experiment. The sample text (unsurprisingly) is taken from the Argonautica: A.R. 1.922-984, the Argonauts’ arrival at Cyzicus. Brave the island alone or call upon allies for advice – the choice, reader, is yours!
An outline of a reader-oriented theory of the novel. Narratives have gaps, narratives are selective, narratives are sketches of a world. What is a reader to do with the indeterminacies? Fill them in!