7003672769347093573.jpg
This image has been sourced from online.
y Across the Nightingale Floor single work   novel   fantasy   young adult  
Is part of Tales of the Otori Lian Hearn 2002 series - author novel (number 1 in series)
Issue Details: First known date: 2002... 2002 Across the Nightingale Floor
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AbstractHistoryArchive Description

'In his black-walled fortress at Inuyama, the murderous warlord, Iida Sadamu, surveys his famous nightingale floor. Constructed with exquisite skill, it sings at the tread of each human foot. No assassin can cross it unheard. Brought up in a remote mountain village among the Hidden, a reclusive and spiritual people, Takeo has learned only the ways of peace. Why, then, does he possess the deadly skills that make him so valuable to the sinister Tribe? These supernatural powers will lead him to his violent destiny within the walls of Inuyama - and to an impossible longing for a girl who can never be his. His journey is one of revenge and treachery, honour and loyalty, beauty and magic, and the passion of first love.' (Source: Publisher's website)

Australian Popular Medievalism

This text has been selected for the Australian Popular Medievalism dataset.
Reference: Indirect
Importance: High
Note: Asian medievalism.

Notes

  • Dedication: For E
  • Listed in The New York Times Book Review's list of Notable Books for 2002.
  • Other formats: Also sound recording (English and Swedish), large print.

Affiliation Notes

  • This work is affiliated with the AustLit subset Asian-Australian Children's Literature and Publishing because it has a Japanese setting and has been translated into Chinese and Japanese.

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • New York (City), New York (State),
      c
      United States of America (USA),
      c
      Americas,
      :
      Riverhead Books ,
      2002 .
      7003672769347093573.jpg
      This image has been sourced from online.
      Extent: 287p.
      ISBN: 1573222259
    • Basingstoke, Hampshire,
      c
      England,
      c
      c
      United Kingdom (UK),
      c
      Western Europe, Europe,
      :
      Macmillan ,
      2002 .
      3637704402575115607.jpg
      This image has been sourced from online.
      Extent: 294p.
      ISBN: 1405000325
    • Sydney,: Hodder Headline , 2003 .
      4529613881639731428.jpg
      This image has been sourced from online.
      Extent: 306p.
      Description: map.
      ISBN: 0733615651 (pbk.)
  • Appears in:
    y Tales of the Otori Trilogy Lian Hearn , Sydney : Hodder Headline Australia , 2004 Z1662407 2004 selected work novel fantasy Sydney : Hodder Headline Australia , 2004
    • London,
      c
      England,
      c
      c
      United Kingdom (UK),
      c
      Western Europe, Europe,
      :
      Picador ,
      2006 .
      7085227776767980610.jpg
      This image has been sourced from online.
      Extent: 276p.
      ISBN: 9780330446952 (pbk.)
    • Sydney,: Hachette Australia , 2008 .
      7795916319720967355.jpg
      This image has been sourced from online.
      Extent: xiii, 343, 15p.p.
      Description: illus., maps
      ISBN: 9780733623370
    • Sydney,: Hachette Australia , 2016 .
      98276953720549193.jpeg
      This image has been sourced from online.
      Extent: 384p.
      Note/s:
      • Published: 27th January 2016
      ISBN: 9780733635229
Alternative title: La leggenda di otori
Language: Italian
    • Milan,
      c
      Italy,
      c
      Western Europe, Europe,
      :
      Oscar Mondadori ,
      2002 .
      8866731314777369462.jpg
      This image has been sourced from online.
      Extent: 286p.
      Reprinted: 2005
      ISBN: 8804509538

Works about this Work

From Middle Earth to Westeros : Medievalism, Proliferation and Paratextuality Kim Wilkins , 2016 single work criticism
— Appears in: New Directions in Popular Fiction : Genre, Distribution, Reproduction 2016; (p. 201-221)

'This chapter argues that setting is a privileged aspect of the popular fantasy genre, and it analyses setting in terms of both how texts are created and how they are circulated and enjoyed. ‘Plot driven’ and ‘character driven’ are commonplace descriptions of modern fiction, and often mark a distinction between genres of differing value. While these phrases are most usually deployed in non-academic writing such as reviews and other opinion-based works, they have appeared in recent research around reading and empathy. According to Frank Lachmann, readers of so-called literary works scored higher in empathy tests than readers of popular fiction; he suggests that this is because empathy is more readily aroused by ‘character-driven’ fiction where ‘the emotional repertoire of the reader is enlarged’ than by ‘plot-driven’ fiction (2015, p. 144). I note that Lachmann makes no attempt to elaborate on what these phrases might specifically mean, nor is there any consideration of the ‘emotional repertoire’ of, say, romance fiction, which fits his definition of character driven and yet remains the most reviled of the popular genres. While, to my mind, good fiction needs to attend to both plot and character equally well, neither of these necessary aspects of storytelling comes readily to mind as a ‘driver’ when thinking about fantasy fiction. In fact, the big engine of the genre appears to be the exposition and elaboration of the setting, from which characterisation and plots specific to the setting are then generated. Fantasy novels are, in many ways, setting driven, a feature that marks them out as unique among popular genres. Other genres where setting is an acknowledged pleasure are historical fiction (for example the work of Philippa Gregory or Diana Gabaldon) and the exotic travel memoir (for example texts set in aspirational destinations such as Provence and Tuscany); but these at least rely on settings that are real. Fantasy fiction, on the other hand, invites readers to immerse themselves in and admire an incredibly detailed world that is an invention of the author’s imagination.' (Introduction)

Ernie Tucker on Books Ernie Tucker , 2014 single work review
— Appears in: English in Australia , vol. 49 no. 2 2014; (p. 98-112)

— Review of Snigger James on Grey Mark Svendsen 1999 single work novel ; Across the Nightingale Floor Lian Hearn 2002 single work novel ; The Slightly True Story of Cedar B. Hartley (Who Planned to Live an Unusual Life) Martine Murray 2002 single work children's fiction
Two Sides to the Question : Against Susan Wyndham , 2008 single work review
— Appears in: The Sydney Morning Herald , 1-2 March 2008; (p. 28)

— Review of Across the Nightingale Floor Lian Hearn 2002 single work novel
Two Sides to the Question : For Ed Wright , 2008 single work review
— Appears in: The Sydney Morning Herald , 1-2 March 2008; (p. 28)

— Review of Across the Nightingale Floor Lian Hearn 2002 single work novel
Re-Membering the Self : Psychoanalytic Theory and Subjectivity in Adolescent Fiction Cathy Sly , 2004 single work criticism
— Appears in: Papers : Explorations into Children's Literature , May vol. 14 no. 1 2004; (p. 40-48)
Untitled John Cohen , 2002 single work review
— Appears in: Reading Time : The Journal of the Children's Book Council of Australia , November vol. 46 no. 4 2002; (p. 32)

— Review of Across the Nightingale Floor Lian Hearn 2002 single work novel
Untitled Mia Macrossan , 2003 single work review
— Appears in: Fiction Focus : New Titles for Teenagers , vol. 17 no. 1 2003; (p. 23-24)

— Review of Across the Nightingale Floor Lian Hearn 2002 single work novel
Untitled Bill Congreve , 2003 single work review
— Appears in: Aurealis : Australian Fantasy & Science Fiction , no. 31 2003; (p. 143-144)

— Review of Across the Nightingale Floor Lian Hearn 2002 single work novel
Two Sides to the Question : For Ed Wright , 2008 single work review
— Appears in: The Sydney Morning Herald , 1-2 March 2008; (p. 28)

— Review of Across the Nightingale Floor Lian Hearn 2002 single work novel
Two Sides to the Question : Against Susan Wyndham , 2008 single work review
— Appears in: The Sydney Morning Herald , 1-2 March 2008; (p. 28)

— Review of Across the Nightingale Floor Lian Hearn 2002 single work novel
Across the Nightingale Floor by Lian Hearn Cristina Pase , 2003 single work criticism
— Appears in: Viewpoint : On Books for Young Adults , Autumn vol. 11 no. 1 2003; (p. 3)
Re-Membering the Self : Psychoanalytic Theory and Subjectivity in Adolescent Fiction Cathy Sly , 2004 single work criticism
— Appears in: Papers : Explorations into Children's Literature , May vol. 14 no. 1 2004; (p. 40-48)
Modesty and the Marketing Machine Jane Sullivan , 2002 single work column
— Appears in: The Sunday Age , 7 July 2002; (p. 8)
As If By Magic Susan Wyndham , 2002 single work column
— Appears in: The Sydney Morning Herald , 24 August 2002; (p. 6-7)
From Middle Earth to Westeros : Medievalism, Proliferation and Paratextuality Kim Wilkins , 2016 single work criticism
— Appears in: New Directions in Popular Fiction : Genre, Distribution, Reproduction 2016; (p. 201-221)

'This chapter argues that setting is a privileged aspect of the popular fantasy genre, and it analyses setting in terms of both how texts are created and how they are circulated and enjoyed. ‘Plot driven’ and ‘character driven’ are commonplace descriptions of modern fiction, and often mark a distinction between genres of differing value. While these phrases are most usually deployed in non-academic writing such as reviews and other opinion-based works, they have appeared in recent research around reading and empathy. According to Frank Lachmann, readers of so-called literary works scored higher in empathy tests than readers of popular fiction; he suggests that this is because empathy is more readily aroused by ‘character-driven’ fiction where ‘the emotional repertoire of the reader is enlarged’ than by ‘plot-driven’ fiction (2015, p. 144). I note that Lachmann makes no attempt to elaborate on what these phrases might specifically mean, nor is there any consideration of the ‘emotional repertoire’ of, say, romance fiction, which fits his definition of character driven and yet remains the most reviled of the popular genres. While, to my mind, good fiction needs to attend to both plot and character equally well, neither of these necessary aspects of storytelling comes readily to mind as a ‘driver’ when thinking about fantasy fiction. In fact, the big engine of the genre appears to be the exposition and elaboration of the setting, from which characterisation and plots specific to the setting are then generated. Fantasy novels are, in many ways, setting driven, a feature that marks them out as unique among popular genres. Other genres where setting is an acknowledged pleasure are historical fiction (for example the work of Philippa Gregory or Diana Gabaldon) and the exotic travel memoir (for example texts set in aspirational destinations such as Provence and Tuscany); but these at least rely on settings that are real. Fantasy fiction, on the other hand, invites readers to immerse themselves in and admire an incredibly detailed world that is an invention of the author’s imagination.' (Introduction)

Last amended 3 Aug 2016 13:34:57
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