He wasn’t sure what he gotten himself into, but it was wonderful. ‘Sure, Elle, I’d be glad to go. But I don’t know how to get there from here.’ ‘Come over to Emma’s office and we’ll all go over together. But give me a few minutes, please. As you can see, I’m not dressed.’ On an impulse, Elle opened her robe and flashed Eamon a picture of her small, perfect breasts. Turning brightly red, Elle switched off the connection. ‘I can’t believe I did that’, she thought. ‘He will think I’m shameless. Oh my God, I think I am shameless when it comes to him!’ That final view of Elle’s lovely breasts was burned into Eamon’s mind. ‘These girls are so hot! And so fucking smart! What in the world do they see in me?’ Part 8 Fifteen minutes later, Eamon was knocking on the door to Emma’s office. The door opened and Eamon was confronted with a view of two identically dressed identical twins. Both wore sleek-looking hip-hugging black slacks, with a white spaghetti-strap top cut off only a few inches. Second, although the story is written in the impersonal third person, at various points the narrator speaks to the reader as "I," seeming, thereby to pierce the veil between author and narrator. Finally, the character "Homer Vargas," also claims to be a writer of erotic stories as the putative author would appear to be.Readers should not be distressed by these shenanigans as other writers such as Phil Roth, Johnny Updike, even Homer's own cousin, Mario Vargas Llosa, have done the same. Nor is this a new literary device. You probably remember that Mickey Cervantes in Book Two explicitly poo-poos any correspondence between himself and the author of Book One of "Don Quijote." Doubts have even been expressed about the authenticity of Homer's own namesake, although most scholars now agree that both The Oddessy and The Iliad were written either by Homer or by someone with the same name.Professor Gail Myrthwright has an excellent treatment of the problem of subject/frame interaction in her.
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