I think it has to do with what we are used to reading/watching. We expect a clear beginning, a middle and and ending because that´s what we´re used to. It´s the classic structure of a drama. HI on the contrary is narrated episodically.
Another story that has a similar structure as HI, is Maggie´s story "the Del Mar Painting".
Well yes and no to both these comments.
I trust myself to be able to rise above what "we're used to" if the writing speaks to me. And I wouldn't agree we're not used to the combination of episodical narration and non-stop dramatic events. It's the staple of every soap opera and lots of TV series. Dallas and Dynasty from back in the day when I was an impressionable kid come readily to mind, as do many more recent TV series (of high quality and good acting, mind you!).
When it comes to events in HI and to a lesser extent in TCJ though, one thing I react to (that make it less belivable to me, canon or no) is how neatly traumatic events - that each on their own might mar or mark a person and/or relationship for life - take place, are dealt with - and by and large seem to be moved on from. I don't find it psychologically believable. (Events such as the gay bashing leading to one of them landing in hospital in a coma. The suicide of a son. And currently in TCJ, this whole Ken incident.)
I know I'm in a minority of one when it comes to my various objections to HI, but I think they're relevant for me personally.
Don't get me wrong - I do think Lori is a stellar writer, by all means. And I think she is professional enough to be able to handle objections.
When it comes to DMP - Maggie created a separate universe and associated freely within that universe. Many chapters could be read independently of each other, or in any order you'd please, at least into the run of the saga. At several points she went back and re-created their lives from a different starting point.
The focus was on their internal workings, the impact of rich and overwhelming larger-than-life emotions in a very hum-drum outward life; two guys going out painting for a job all day, then going back home and grilling burgers before having mind-blowing sex.
For instance the early "dramatic" incident of them being detained in jail in Utah was never described at all, I think - except as it related to their relationship issues afterwards. And since much of the early "conflict" surrounded DMP Ennis's struggles to come to terms with or even admit to himself that he's gay (and with wanting a much younger man so intensely to up the ante on the inner-conflict angle), he seemed to originally emulate canon more IMO than HI Ennis who had finished with that struggle, somehow.
Their first time on the concrete floor must be deemed iconic, wouldn't you say?
DmP for all intents and purposes was an AU!AU in my book even if canon Ennis (and by reference, Jack) made a brief appearance. Once characters and stories veer away from canon-ish characterizations, especially, I find AU!AUs much easier to deal with when it comes to suspending my disbelief and accepting characters who are not in all respects "Jack" and "Ennis".
I did have considerable objections to the realism of various events and to the characterizations in the course of the DmP saga, though. Especially for
Old Cold Time which really had some big plot, consistency and character holes in it - so I was glad when she returned to that free-flowing writing where the guys were back to their paint business and each chapter was a separate fic, in a way.
Maggie's writing had a dream-like, lyrical, nearly hypnotic impact on me - the emotions jumped off the page and hit me in the heart. I wonder what she's doing now - hopefully she's not given up writing.
In conclusion then; there are no rules - it's all about what works for the writer, and for each reader. And thankfully we're not all the same!
(It's raining bad here, and my plans for the day fell through. Can you tell?
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