Brian McHale investigates the unnaturalness or artificiality of narrative poetry. More specifically, he analyses William Shakespeare’s Venus and Adonis as well as Les Murray’s Fredy Neptune to show that artificial segmentation functionalizes and semanticizes nonsemantic patterns, such as rhyme, that are irrelevant and even inaudible in unsegmented prose. Furthermore, artificial segmentation occasionally coincides with narrative segmentation, enhancing and amplifying it. Sometimes, instead, it cuts across segmentation, setting up counterrhythms, syncopating and counterpointing narrative shifts. In any case, by introducing a series of minuscule gaps and interruptions, artificial segmentation jars us out of our automatic (or “natural”) attitude toward such a narrative. For McHale, artificial segmentation counters the template of natural narrative with a competing unnatural one.' (Authors introduction)
