Space in “Sam”

For the analysis of the space in this novel it is noticed that this is not a novel of action and it focuses on the characters to know their size and psychological features (physically and in the case of Anne). That is why we did not find excessive references of space in which to locate a non-existent and reduced argument as simple as that of a frustrated love for gay and repressed, just tragically with a double murder. But the narrator is presenting a few spaces to which they attached great importance to the emotional burden he had to read from the viewpoint of an obsessive fetishist who, reminded those few places as sanctuaries where he has devoted his love.

There are two spaces in the text:

• The "Airport" presented as a link in the second page of this hypertext (in the "Story"). It is noticed that the lovely way of the description of the place, their atmospheres, etc., is a constant throughout the work. On the other hand, it is important to point out how many chapters the author returns to give us the option (link) to return to this place, but already contains since its first appearance of going to “End” warning that there would be a tragic option:”Who would have known, that this was where it was to end”.
• Another very important place for the protagonist is the Playground where he accepts the relationship with Sam. This space is not a special chapter named after the space because it is inserted only as a reference within the chapter “Hands” (early version) and without any description, warned that the low value of the information space, just as an element very emotionally charged for the actor who narrates and describes the hair of his beloved.

From these two spaces, the rest of topographical references are very small: some places that points put the protagonist: “We used to hold hands everywhere we went, her right in my left. Whether we were strolling down Moonlit paths, walking along a busy street, taking a bus or watching a movie together, we would always hold hands”.

However, there is something very interesting in terms of the games that allows hypertextuality with the reference space that gives us the first “page'” of the work: “A room with yellow walls” (in the "Prologue) and without return to find more with this space until the end of the play, in the Epilogue, in which he revealed that it was consulting the psychoanalyst of Sam. This space is where we are awake all the ambiguities of the work and it is important that he plays with the reader to maintain a suspense about what will be referred instead to say “a room with two yellow walls”.

And, finally, two areas are important to the narrative, I mean the golf course where the two dead bodies are located: “His favourite course was at the Warren golf resort, where rich people with too much time on their hands and too little precision in their aim often play balls by the dozen into the deep water hazards.
It was a Sunday when he made his last dive. It was a pond at The Edge of the golf course, separated from the world beyond by a simple row of shrubs and hedges. His body was found floating, face down and half naked, his shirt neatly folded as always lying on the grass nearby”. Although in a careful way, the description here takes an entirely different function: to narrate purely the time and explain how the place were according to environments that describe the feelings of the protagonist.

To sump up, we see the multiplicity of sites, the ability to lead us to each other with a link that allows space sudden jumps into the narrative, in other words, something which in principle is very encouraged by the hypertext and through the creation of hypertext fiction, here is not exploited to the fullest, because this is not the reason for the novel.