Arthurian Fantasy Fiction through the Ages, nonfiction, Issue 24, September 1, 2013
Why? How do these stories and their characters find expression in your work? I think some of my work, at least in novel form, is allegorically driven. There are always two stories, the surface one that is spoken about in the back-jacket blurb, and the deeper one, that like Lessing’s work, isn’t always interpreted by the reader. For instance, my novel, The Arrow-Maker's Daughter, which is about a frontier man who takes a Native American woman prisoner in order to find a secret gold city, that he hopes will change his financial luck. This is the surface story; the gold city is an allegory for attaining inner riches.
Not everyone will see it. It takes someone who will pause long enough to unlock the puzzle the author intended. In our day, there is so much talk about distraction and being “fast-paced,” and people not having time, but I think this is a small sect of people. Plenty of people spend time with a book, and know when a different mindset is needed. We don’t read Austen the same way as Dostoevsky. Nor would I expect someone to read a Liguore novel the same way they do a commercial novel.
Hunter Liguore, a multi-Pushcart Prize nominee, earned a MFA in Creative Writing and a BA in History. Her work has appeared in Bellevue Literary Review, New Plains Review, The Irish Pages, Empirical Magazine, DESCANT, The Writer's Chronicle, Rattling Wall: PEN USA, Strange Horizons, Amazing Stories, and more. She is the editor-in-chief of the print journal, American Athenaeum. She revels in old legends, swords and heroes. www.skytalewriter.com