A comparative investigation of Mia's Mom, Inkheart and The Children's Book, by Betsie

van deer Westhuizen

Stories told in fascinating ways are known as absorbing, awesome, gripping, compelling.
Better when read aloud. All these books have an abundance of potential Narrative
Energy, and are described as such.

Narrative Energy in a story is determined by external factors: social, political contexts,

spirit of the times. Internal factors: structural entities, strategy in development of
characters. The potential Narrative Energy is actualized by the reader. Reader response
depends on age, ability to extract hints in the text and more. Some are intrigued by the
texture, the style of narrative being used.

Metaphor and thinking: Narrative Energy in stories, is it a metaphor, or is there actual

energy within the story? Can physics be applied to stories? What are the pragmatic
implications?

Purpose of the paper: to relate aspect of energy in theories of physics to the texts being
discussed today. Narrative Energy functions differently in different genres: war,
environmental, detective, etc. All three books discussed are in subgenre of “books' effect
on there readers.”

Theory of physics - energy: supposition that can be discussed is that energy cannot be
transferred to artistic pursuits, its merely analogous.

Points of departure

1. Energy- ontic phenomenon present in all existing things. Implications, there is

potential energy in all texts
2. Greek- energeia; en-in, ergon-work
3. Energy is normally defied as the equivalent or capacity of occurrence/to do something
4. Historical development of physics theories brings expansion and shift of emphasis
regarding the understanding of energy
5. Although for decades there was a tendency to a structural description of the properties
of energy, the view currently also exists that the nature of energy- more specifically the
functioning of energy- can be described as a narrative.

Energy is the determining factor of ALL types of occurrences. Implications, there are
different type of energy sources, different types of interactions. Narrative theory, when
the story is being narrative, the aesthetics, the elements, interact. Basic types of Narrative
Energy exists on the ground of person, place, time and events - interaction between
narrative aspects.

Different energy fields are experienced as forces within which interaction/occurrence

takes place
If the forces are in equilibrium, the state of energy is static or constant

If an external force is added, the balance is disturbed, and that cause the conversion of
energy and a change in state. Implications: an external element is added, like a strange
character, the balance might be disturbed, a convergence of energies is taking place.

Energy conversion or occurrence can cause awakes that propagate changes and make
ripples. Implications: the ripple is forced in a certain direction, having consequences

A series of events can never be undone, since energy is dispersed into less usable forms.
The entropy increases. Implications: narratives have inevitability, but also randomness of
cause and result. Tension exists because collapse or success is uncertain.

In the end, everything tends toward new equilibrium. Implications: in end the narrative
world is not the same as in the beginning. The ripple effect of the narrative MOVES the
reader, and the reader resolves the narrative issues in actual reality.

Mia's Mom
Intended for young kids, the narrative strategy relies on the repetitious nature of the
dialogue structure. This strategy may generate Narrative Energy when read aloud to a
child. Mia and friends are from different cultures, as is seen visually (different animals
represent different cultures). Tiger, Indian and Arab world, dog- french, mouse from
Italy, etc. The characters appeal to kids. A narrative force comes into the story when
Mia's friends are invited to her party. Mia’s been telling all sorts of wild tales about her
mom, and the mom has some explaining to do (tension!).

In second half of story, readers make connections between what Mia said, and what her
mom says about fairy tales. Intertextual and extratextual references. Friends initially fear
mom, but realize that the mom just becomes these characters when she retells the fairy
tales. The listeners are transported to Alladin’s magic carpet when mom vividly tells that
story. Oooo, I get it now.

Visually, when fairy stories are told, they are illustrated in the book like they were drawn
by a child, crayon heavy and childish, different than the regular illustration.
Intertextuality, verbal and visual. The suggestion of wind is implied in the final
illustration, impacting the "real life" characters who are flying on a crayon carpet,
showing the energy of the story having a real effect on the characters.

Inkheart
Cornella Funke, writer and illustrator

Deals with 12 year old whose dad can read so well the characters become really real.
These consequences result in, gasp, tension. Narrative Energy is found in the movement
of characters from one place to another, boundaries are crossed. Also, intertextual
references. Chapters start with passages from well known books with similarities to the
chapter they introduce. Inkheart’s intertextual references resonate with world literature.
Narrative Energy is created when the characters cross boundaries of geography and
literature. But the readers need to actualize it. The crossing of boundaries creates new
energy, more tension, suspense. Narrative Energy is also found in characters growth (I
think; this lady speaks quietly and has a tricky accent, huzzah). Narrative Energy in
visual aspects is present in how all chapters are summarized with small, intriguing
illustration. The concept of going home and being away from home is found throughout
the story. Another appealing element, the character in the end decides to become a writer
herself. In the end, everything ends and a new equilibrium is achieved.

The Children’s Book

A.S. Byatt's writing style is not well loved by all. She has lots of tangents, and some
readers like that.

The novel is set again turn of last century, and is integral to plot, creates Narrative Energy
that moves plot along. You know what, I haven't read this book, and I don't think this
lecture isn't worth having it ruined. LALALALALALALALALALALALA. Sorry.

There is intertextual interactions between character's fairy stories and events in the book.
The creation of pottery is also integral into a subplot of the novel. What becomes evident
is pottery is symbolic of art in a broader sense. 'amphora'>'metaphore'>metaphor. The
novel, then, is a vessel of meaning. Meaning carried by concrete object, like a vase
(pottery).

There needed to be a fluctuation in order to maintain interest. Intertextuality shows

significance of stories on lives of the characters in all three books discussed.

For discussion

1. The understand how Narrative Energy works theoretically in narrative texts in general
2. To develop a theory on Narrative Energy in children literature.
3. To apply narrative theory when working with narratives: writing stories, illustrating
stories, editing stories, and translating stories
4. To serve as basis for further research
6. To use theory of Narrative Energy with other relating disciplines
7. Many more possibilities for research on ontological, epistemological, and
methodological issues surrounding the concept of Narrative Energy

Q&A (or in this case, Q&Dodge)

First question from audience is great: if energy is dispersed, it gets diminished, but books
are creative and should be ever-flowing, more like love which is passed on but never
recedes. Lecturer dodges the question, feigns misunderstanding, asks if the questioner has
issue with the genre specifically. Questioner reaffirms his issue with the theory, lecturer
maintains theory, hides behind big words she thinks the audience doesn't know
(“ontology”? You think I don’t know what “ontology” means? GLARE). Her disposition
is compromised, voice wavering, not directly answering the question, continuing to
reaffirm theory.

Next question: is this an analytical tool, or a metaphor? Lecturer seemed to be wavering.

Does Narrative Energy become a grand theory to explain everything, or is it used as a
flexible metaphor that teases out some elements? What do you think, lecturer? Metaphors
for understanding of how the world functions, we understand the world via metaphors.
We have to make sure how we ground our metaphors in what we believe about the world
and everything? Maybe there should be another chapter about our beliefs. She does
sometimes think, Well, is it just a metaphor, this Narrative Energy? Or is there an energy,
actual energy, within the text? She doesn't know if it's a metaphor or not, she is unwilling
to make a definite statement on that.

Third questioner, disagrees with first. If we consider what we create is part of the world,
it comes from SOMEWHERE! Energy comes from everywhere, you can even break
atoms and have an atomic bomb! She finds the theory confusing, but thinks it's important
(always a good sign). When she creates, she believes the energy she puts into her book
will be dispersed eventually, making waves.

Forth question from Lacy, go Lacy! Is there a connection between Narrative Energy and
synesthesia? The heck is that, Lacy? The reader can be so absorbed by story that...
Sorry... Sorry, I have no idea what she's talking about.

[UPDATE: synesthesia - a neurologically-based condition in which stimulation of one

sensory or cognitive pathway leads to automatic, involuntary experiences in a second
sensory or cognitive pathway.]

Fifth, this Narrative Energy is not measurable! Can it be measurable? Answer, in

humanities, measuring don't workout he same way as in natural sciences.

And a good time was had by all.