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Ekphrasis refers to a literary technique wherein a writer describes a work of visual art (either real or imagined). The term derives from the Greek word meaning description or interpretation. Ekphrasis can occur in either poetry or prose. Famous examples of ekphrasis include John Keats’s poem “Ode on a Grecian Urn” (1820), in which the speaker addresses a Grecian urn directly and describes the images on it, and Oscar Wilde’s novel The Picture of Dorian Gray (1890), where the narrative begins with a painter named Basil Hallward painting a portrait of a young man named Dorian Gray. Contemporary authors also make use of ekphrasis; if the plot of a novel involves visual art, ekphrasis will typically occur. For example, novels such as Maggie O’Farrell’s The Marriage Portrait (2022) and Emily Franklin’s The Lioness of Boston (2023) feature descriptions of both historical and fictional works of art, primarily paintings.
Some authors of mystery and suspense will also incorporate visual art as a way of deploying clues; for example, several novels by Canadian mystery author Louise Penny, including A World of Curiosities (2022)—which revolves around the discovery of a locked, hidden room containing a sinister painting—incorporate ekphrastic descriptions of artworks to enhance the mystery. Since the plot of The Blue Hour revolves around Vanessa Chapman, a fictional British artist, Hawkins incorporates many descriptions of artworks. These descriptions add a visual element to the novel. In doing so, Hawkins deepens the novel’s exploration of themes of subjectivity, memory, and truth since no two readers will picture exactly the same artwork after reading a description.
The water levels of oceans and some rivers and lakes rise and fall in regular cycles known as tides. The gravitational pull exerted by the moon—and, to a lesser degree, the sun—causes tides. As water levels reach their highest point, a greater portion of the shore will be covered by water; this is known as high tide. Then, water levels will recede until they have reached their lowest point and leave a greater portion of shore uncovered; this is known as low tide. In The Blue Hour, the patterns of tides play a key role in the plot since tides determine when characters can access or leave the island of Eris. Tides can typically be predicted, both in terms of when high and low tide will occur and the tidal range or amplitude (the difference between the water levels measured at high and low tide). As Hawkins depicts, individuals can plan around the times of day when water levels will be low and when they will be high. Tides can be either semi-diurnal (with two roughly equal high and low tides per day) or diurnal (one high and one low tide per day).
A typical island is a landmass surrounded on all sides by water; some islands are joined to a larger landmass (the mainland) by a piece of land (an isthmus or causeway) that is either exposed or submerged depending on the time of day and tidal conditions. A tidal island cycles between periods in which it can only be accessed via water—during high-tide conditions when the connecting land is flooded and impassable—and periods when it can be accessed via land—when low-tide conditions cause the water to recede and expose land. In her novel, Hawkins imagines a fictional island called Eris; in actuality, there are several tidal islands off the coast of Great Britain, including 17 tidal islands in Scotland. Some tidal islands were historically used as military or defensive sites since their unique geography made them relatively easy to defend. In Western Europe, tidal islands have sometimes also been home to important sites of worship: Mont Saint Michel, a famous Benedictine abbey, is located on a tidal island in France, while Lindisfarne Abbey is located on a tidal island off the northeast coast of England. For the monks who originally populated these religious sites, tidal islands provided enough isolation to facilitate a life of holy contemplation without completely severing access to the wider world. By setting her novel on a tidal island, Hawkins plays on similar themes of isolation, artistic devotion, and withdrawal from the social world.



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