For instance, the narrative might observe the reaction of the woman who the novel had opened with, and not the reaction of the woman who is her friend (the woman whose studio they are in), though more likely it would observe both women’s reactions, to some degree, before zeroing in on, and following, the reaction of that first woman (the woman who the novel began with), so that the confluence of her psychic ‘block’ (regarding the painting she had started but is unable to complete) and this neighbor woman’s tale (about the location of a painting that has an uncanny or supernatural quality, and that may or may not have any basis in reality) might be dramatized.