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Nicola McDonald

, they are also stories in which desire functions as what Peter Brooks calls the ‘motor force’ of narrative.40 At the start of virtually every romance a desire is present, usually in a state of initial arousal, that is so intense (because thwarted or challenged) that action – some kind of forward narrative movement designed to bring about change – is demanded. Sexual desire (whether wanted, unwanted or feared) is one of the most common initiatory devices, but a desire for offspring, material wealth, a lost identity, political or religious dominion, or simply aventure

in Pulp fictions of medieval England