The book blends history, myth and narrative realism into playful fiction.

It opens, however, with something like narrative realism.

"It supports and does a spectacular job with a certain kind of narrative realism on stage that has some political overtones but isn't bitingly political."

In making our way back through history it is hoped that we can critique the narrative realism that could be imbued in this text.

As Ball stands sentry, narrative realism gives way to Irish and Welsh mythic associations.

Where Black trots out a panoply of images that don't always cohere, Tinari gives us off-putting narrative realism.

Cinema consists of a set of mechanically reproduced images which can be presented along the lines of the temporal causality of narrative realism.

This is especially true of movies that fearlessly, even recklessly push against the limits of narrative realism and dare us to take a leap of conceptual faith.

The fusion of image, text and movement is as common to Off Off Broadway as narrative realism is on Broadway.

"He fuses psychologically grounded American narrative realism with high modernism's philosophical concerns, including the way that the artifice of art, and especially the theater, is the perfect metaphor for human consciousness.

But this would be his one of his final experiments with narrative realism (at least in the novel form) and, in it, he succeeds in demonstrating the genre's obvious limitations and insufficiency.

It is also to note that the definitions of 'reflection', inherent in accounts of text as narrative realism, can privilege acting as "habiltualised" and effectively hide the "workings and effects of power through texts."

The renowned work of Apelles provided several exemplars for the narrative realism admired by Greco-Roman connoisseurs, succinctly expressed in Horace's words ut pictura poesis, "as is painting so is poetry."

Although Parks's themes have a glancing similarity to those of Patricia Highsmith's psychological thriller "The Talented Mr. Ripley," any expectation of narrative realism quickly melts in the heat of Parks's high-camp artifice.

Arguing in the very different Parisian intellectual climate of the early 1970s, he assimilates assumptions of differentiated signification to Lacanian and orthodox Freudian psychoanalysis, to the commodity form in capitalism, to the ordered temporality of narrative realism and to the formalism of Adornian aesthetic rationality.

In Brooke-Rose's later work this relationship is reversed as linguistic felicities are allowed to pierce through the layers of the harmonious hierarchical structure of narrative ontology; rather than replacing pun with metaphor, Brooke-Rose transforms the one into the other.

By fusing news broadcasts with traditional novelistic tropes, she foregrounds the conventionality of both discursive genres and points to the fact that they both rely on an assumption of verisimilitude which her flagrant transgressions of narrative ontology undermine.