While it seems as though a simple detail or gesture can be of miniscule importance within a narrative, although that may be true in terms of plot, such details are minimal cues that prompt a reader to imagine a larger reality surrounding this one event. Puck mentions “Grattion’s is a riot of sound, with people spilling out onto the walk. I have to push my way through the door…Inside, the place is abuzz with noise and a crooked line leads around the wall. The ceiling feels low and crowded with its exposed ...
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...hook, it 's just not going to mean anything to anybody else” (Maggie Stiefvater Website). It is the combination of the world building narrative techniques and the shifting narration, which launch the reader into the world of Thisby where the reader becomes immersed in the tension leading up to the races and the need to encounter more of the lore that surround the vicious, beautiful water horses. However, in the end, it is the emotional truth, the capacity of the reader who has theory of mind, that he or she can empathize and understand the reader. It is Puck and Sean’s engaging personalities and tangled motivations that enable the narrative to hook its claws into the reader, whereupon the first person point of view, swath of sensory details, and emphasis on transitive movement encourages the reader into creating an embodied simulation of Sean and Puck’s experiences.
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