You’ve intrigued me. This sounds such an interesting approach to telling a story – as a screenwriter, how could I not want to read it? Thanks.
It took me a little while to come to grips with the voice of the narrator of The House in Smyrna – it’s only fair to let you know from the outset that this novella of only 155 pages takes a bit of re-reading in order to make sense of it. It’s episodic – fragmented, really, and there is a voice either disputing the narrator’s account or consoling her, a voice that the reader can’t identify until page 14, and even then some crucial information is withheld till later on.
There you go again, narrating through the prism of pain. That isn’t what I told you. Exile isn’t necessarily full of suffering. In our case it wasn’t.
There is a lot of pain in this story. The narrator, suffering from some unspecified illness, is in misery:
I write with my hands tied. Here in the stationary solidity of my room, which…
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