“Literary Geography: Setting And Narrative Space” by Sheila Hones: Summary and Critique

Introduction: “Literary Geography: Setting And Narrative Space” by Sheila Hones

“Literary Geography: Setting and Narrative Space” by Sheila Hones first appeared in 2011 in the Social & Cultural Geography journal. In this article, Hones explores how narrative theory and literary geography can be merged to better understand the role of setting and narrative space in literature. She critiques the traditional approach in literary geography, which views space merely as a static background for action, and emphasizes the need to move beyond this simplistic perspective. By examining works like P.K. Dick’s The Man in the High Castle, J.A. Mitchell’s The Last American, and F. Scott Fitzgerald’s The Great Gatsby, Hones argues that literary space is not fixed but contingent, shaped by the interactions between the narrative, the author, and the reader. The article highlights the potential of combining the specificity of narrative theory with the broader imaginative scope of spatial theory, thus advancing a more dynamic and interdisciplinary approach to the study of literary spaces (Hones, 2011).

Summary of “Literary Geography: Setting And Narrative Space” by Sheila Hones

• Interdisciplinary Connection Between Narrative Theory and Literary Geography
  The article examines how the tools of narrative theory can enhance the study of literary geography, particularly in understanding setting and narrative space. Hones suggests that despite narrative theory’s inclination to categorize space as fixed and stable, its technical vocabulary offers valuable insights to literary geographers (Hones, 2011).
• Traditional View of Narrative Space
  Historically, narrative space was understood as the background setting for events in a story, often treated as a stable “container” in literary geography. However, recent advancements in both narrative theory and literary geography have shifted toward a more complex view, acknowledging that space in literature cannot simply be reduced to a backdrop for action (Hones, 2011).
• Expansion of Narrative Space Concepts
  Narrative theory has evolved to incorporate space not just as a backdrop, but as a dynamic and integral part of the narrative. Hones notes that the introduction of concepts like “chronotope” (Bakhtin) and the “spatial dimensions of narrative” in narrative theory are pushing for a more nuanced understanding of how space functions within a story (Hones, 2011).
• Challenges in Interdisciplinary Collaboration
  Hones addresses the gap between the precise categorizations found in narrative theory and the more flexible, process-oriented concepts in spatial theory. While narrative theory’s typologies are useful for analysis, they often impose a rigid view of space, which conflicts with geographical theory’s more fluid and relational understanding of space and place (Hones, 2011).
• Potential of Combining Narrative Theory and Spatial Theory
  The paper proposes that blending the analytical rigor of narrative theory with the expansive conceptual framework of spatial theory can result in a more sophisticated understanding of how literary space is created and experienced. This combination can offer deeper insights into how fiction’s geography is produced through the interaction of author, narrative voice, and reader (Hones, 2011).
• Case Studies of Literary Texts
  Hones illustrates her argument through three case studies: The Man in the High Castle (1962) by P.K. Dick, The Last American (1889) by J.A. Mitchell, and The Great Gatsby (1925) by F. Scott Fitzgerald. These texts highlight the complex ways in which narrative space is created and how reader positioning plays a crucial role in shaping that space. For instance, Dick’s novel uses minimal descriptive passages, relying on reader inference to build its alternative world, while The Great Gatsby reveals how an unreliable narrator complicates the notion of a fixed setting (Hones, 2011).
• Conclusion: Shifting Definitions of Setting
  Hones concludes that a new approach to setting and narrative space is needed, one that takes into account the multiple voices, times, and locations present in a narrative. By focusing on the processes through which fictional settings emerge, literary geography can move beyond static notions of space and explore its contingency and fluidity (Hones, 2011).

Theoretical Terms/Concepts in “Literary Geography: Setting And Narrative Space” by Sheila Hones

Theoretical Term/Concept	Definition	Explanation
Narrative Space	The “place or places within which the situations and events represented … and the narrating instance(s) occur” (Prince, 1987).	Narrative space is the space within a story where the events take place. Initially seen as a static background setting, it is now understood to be dynamic and integral to the narrative. Hones critiques the traditional view of space as just a container for action (Hones, 2011).
Chronotope	A concept from Bakhtin referring to the interconnectedness of time and space in narrative.	The chronotope refers to how space and time are fused within the narrative, creating particular “types” of spaces in the narrative structure, such as the “adventure” chronotope (Hones, 2011).
Possible-Worlds Theory	A theory used in narrative theory to describe the various worlds presented in a narrative that are distinct from the actual world.	This theory acknowledges that narratives may present alternative or fictional worlds that coexist with real-world spaces. The theory allows exploration of how these different “worlds” interact within the narrative (Hones, 2011).
Spatial Frames	The specific locations within a narrative that make up the “shifting scenes of action.”	Spatial frames are the identifiable settings within the narrative’s physical world, establishing the boundaries of the story’s geography (Ryan, 2010).
Story Space	The space relevant to the plot as mapped by the actions and thoughts of the characters.	Story space is the specific geographic area in which the narrative’s actions occur, shaped by the plot and the characters’ movements within it (Ryan, 2010).
Narrative Universe	The broader world encompassing the story’s actual and hypothetical elements, such as counterfactuals, beliefs, wishes, and speculative realities.	This concept expands beyond the story’s physical setting, including the worlds created by characters’ thoughts and the broader context in which the narrative takes place. It helps explain how narrative space can include imagined or possible worlds (Ryan, 2010).
Multiple Focalizations	The use of various narrative perspectives to tell the story from different points of view.	Hones discusses how authors use multiple focalizations to create different views of the same narrative space, enriching the depth and complexity of the space in which the story unfolds. It highlights the fluidity of space as experienced by different narrators (Hones, 2011).
Implied Reader	The conceptualized reader who is imagined by the narrator and embedded within the fictional world.	This reader exists within the world of the narrative, helping to co-create the spatial setting by interpreting the story from their own perspective (Hones, 2011).
Intradiegetic Narrator	A narrator who is part of the story world, participating in the events of the narrative.	An intradiegetic narrator shapes the narrative space by giving a subjective view from within the fictional world, influencing how readers perceive the story’s setting (Hones, 2011).
Text–Reader Dynamics	The interaction between the text’s narrative structure and the reader’s interpretation, shaping the narrative space.	This concept emphasizes the reader’s role in constructing the space of the narrative, reflecting on how readers co-create the geographical and social aspects of the story (Hones, 2011).
Metalepsis	A narrative technique where the boundary between different narrative levels is blurred, often bringing the narrator or reader into the narrative world.	Metalepsis allows for narrative space to become more fluid, breaking the boundaries between different levels of the narrative, such as the real world and the story world (Hones, 2011).

Examples of Critiques Through “Literary Geography: Setting And Narrative Space” by Sheila Hones

Literary Work	Critique	Explanation
The Man in the High Castle by P.K. Dick	Minimal scene-setting description	Hones critiques the novel’s lack of explicit descriptive passages, arguing that it establishes its fictional geography not through traditional descriptions but by positioning the implied reader as an inhabitant of the fictional world. The absence of descriptions aids in the immersive construction of the alternative world.
	Multiple focalizations and voices	The narrative’s use of multiple focalizations and voices helps establish a complex, dynamic space. These shifting perspectives create a varied and layered sense of place within the fictional world, supporting the idea that space in the novel is contingent and constructed through multiple narrative techniques.
The Last American by J.A. Mitchell	Doubled textual geography	Hones highlights the novel’s use of a complex spatial structure, where the implied reader of the future is juxtaposed with a nineteenth-century American authorial audience. This creates a “doubled” geography that compels readers to engage with two unfamiliar worlds simultaneously: an imagined future and a historical past.
	Role of the narrator and reader positioning	The narrative style, which uses a first-person perspective from an admiral in the Persian navy, shifts the reader’s perception of space. The reader’s engagement with both the fictional world of the narrative and the historical context of the author complicates the reader’s understanding of the spatial setting, highlighting the interaction between authorial intent and reader interpretation.
The Great Gatsby by F. Scott Fitzgerald	Narrative space and unreliable narration	Hones critiques the assumption that The Great Gatsby‘s setting is simply New York in the 1920s. She argues that the narrative space is complex because of the unreliable first-person narrator, Nick Carraway, who recounts past events from his present in the Midwest. This layering of locations challenges the conventional understanding of setting and suggests a more fluid, multi-layered space.
	Simultaneity of locations	The novel’s narrative space operates in simultaneity, where multiple locations (New York, Louisville, the Midwest) co-exist within the same narrative moment. Hones emphasizes the complexity of the text’s geography, arguing that it cannot be confined to a single spatial frame but instead involves overlapping and interconnected locations.
The Last American by J.A. Mitchell	Critique of social and political geography	The novel critiques the decline of American society through a post-apocalyptic lens. Hones argues that the fictional geography of a destroyed America serves as social criticism, reflecting concerns about the loss of national identity and the impact of history on the physical and social landscape.
	Metatextual elements and dual settings	Hones examines how the text’s metatextual elements, such as the fictional editor and dedication pages, create an additional setting within the real world, contrasting the fictional future setting with the real-world production context. This dual setting complicates the reader’s understanding of the narrative’s spatial frame, merging fictional and real-world geographies.

Criticism Against “Literary Geography: Setting And Narrative Space” by Sheila Hones

• Overemphasis on Theoretical Vocabulary
  Critics argue that the reliance on narrative theory’s technical terms and categorizations may complicate the interdisciplinary approach and make it less accessible for geographers who are not familiar with literary theory. Some might feel that the emphasis on precision in narrative terminology overshadows the need for broader spatial concepts (Hones, 2011).
• Lack of Engagement with Non-Western Literatures
  Some critics might contend that Hones’ examples, such as those from P.K. Dick and F. Scott Fitzgerald, predominantly focus on Western texts and settings, which could limit the applicability of her theories in non-Western contexts. A more global perspective might broaden the scope of literary geography and offer richer, more diverse analyses.
• Overcomplication of Setting and Space
  While Hones emphasizes the complexity of narrative space, critics may argue that this overcomplication could lead to an unclear or convoluted understanding of how space functions in literature. Instead of making the concept more accessible, the multiple layers of analysis might obscure the fundamental idea of setting as a geographical space in which events unfold.
• Insufficient Focus on Spatial Experience
  Although Hones touches on the importance of spatial experience, some critics may argue that there is insufficient exploration of how actual spatial experiences (such as the reader’s perception of place or the geographical reality behind the fiction) influence the narrative. The focus remains largely theoretical, with limited engagement in real-world applications.
• Limited Collaboration between Disciplines
  Hones mentions the potential for cross-disciplinary collaboration between narrative theory and literary geography, but critics may argue that the actual integration of these two fields is still underdeveloped. The proposed interdisciplinary framework may be seen as too ambitious without clear pathways for practical collaboration between literary theorists and geographers.

Representative Quotations from “Literary Geography: Setting And Narrative Space” by Sheila Hones with Explanation

Quotation	Explanation
“The technical vocabulary developed within narrative theory has much to offer the literary geographer.” (Hones, 2011)	Hones emphasizes the value of narrative theory’s specialized terms in understanding the spatial dimensions of literature, suggesting that literary geographers can gain significant insights by incorporating narrative theory’s terminology.
“Narrative space was generally assumed by narratologists at the time to have ‘no other function than to supply a general background setting.'” (Hones, 2011)	This quotation reflects the traditional view in narrative theory, where narrative space was seen simply as a backdrop for action, rather than an active element of the story. Hones critiques this limiting view and calls for a more dynamic approach.
“Narrative theory has come to pay greater attention to the spatial dimensions of narrative.” (Bridgeman, 2007 in Hones, 2011)	Hones notes that narrative theory has evolved to recognize the significance of space within narratives, moving beyond its previous focus on time and action, thus opening up possibilities for interdisciplinary study.
“Literary geography has also started to develop lines of work that go beyond a simple association of narrative space with particular frame settings.” (Hones, 2011)	Hones highlights that literary geography is expanding to include more complex notions of narrative space, which are not limited to static settings but involve dynamic interactions between text and geography.
“Space in literature often meant ‘Balzac’s version of Paris, the Africa of colonial romances, Austen’s redrawing of Britain.'” (Hones, 2011)	This statement critiques the overly simplistic and Eurocentric focus of traditional literary geography, calling for a broader, more nuanced understanding of literary space that incorporates diverse contexts.
“Finding it increasingly ‘difficult to disentangle setting from what’s going on and who’s doing it.'” (Abbott, 2008 in Hones, 2011)	Hones references Abbott’s insight that setting cannot be viewed in isolation from the plot and character actions, arguing that narrative space should be understood as contingent and interconnected with narrative events.
“Narrative space can be identified as the (presumably singular) fictional environment within which ‘story-internal characters move about and live.'” (Buchholz & Jahn, 2005 in Hones, 2011)	Hones critiques the view that narrative space is a fixed environment, advocating for a more fluid and complex understanding of space as dynamic and shaped by the narrative itself.
“The potential for literary geography lies in taking up a position at the theoretical and methodological overlap and, from that position, developing lines of argument which are inhibited as little as possible by the disciplinary differences.” (Hones, 2011)	Hones stresses the importance of interdisciplinary collaboration between literary theory and geography, proposing that such an approach can lead to a more robust understanding of narrative space.
“A narrative space…is a co-production involving a range of voices and points of view as well as a range of projected and actual reader positions.” (Hones, 2011)	This quotation emphasizes the collaborative and multi-dimensional nature of narrative space, where different voices, reader perspectives, and narrative techniques come together to shape the space.
“Space as process, something mobile and unstable.” (Hones, 2011)	Hones advocates for a view of space as dynamic and ever-changing, rather than as a fixed container, arguing that spatial theory should reflect the fluidity of both space and narrative.

Suggested Readings: “Literary Geography: Setting And Narrative Space” by Sheila Hones

1. Hones, Sheila. “Literary geography: setting and narrative space.” Social & Cultural Geography 12.7 (2011): 685-699.
2. Hones, Sheila. “Literary Geography and the Short Story: Setting and Narrative Style.” Cultural Geographies, vol. 17, no. 4, 2010, pp. 473–85. JSTOR, http://www.jstor.org/stable/44251372. Accessed 24 Feb. 2025.
3. Werronen, Sheryl McDonald. “Setting the Scene: Geography and Space.” Popular Romance in Iceland: The Women, Worldviews, and Manuscript Witnesses of Nítíða Saga, Amsterdam University Press, 2016, pp. 89–124. JSTOR, https://doi.org/10.2307/j.ctv513cr4.8. Accessed 24 Feb. 2025.
4. Eigler, Friederike. “Narrative and Space.” Heimat, Space, Narrative: Toward a Transnational Approach to Flight and Expulsion, NED-New edition, Boydell & Brewer, 2014, pp. 31–50. JSTOR, http://www.jstor.org/stable/10.7722/j.ctt5vj7rh.6. Accessed 24 Feb. 2025.