Why are narrative texts highly intriguing to their readers—even though they are in most instances aware of the fact that the enjoyed texts are “mere” fiction, no more than a thrilling output of letters, words, and sentences by a creative mind? This question has been reiterated by literary scholars and critics who have attempted to answer it by fleshing out new methodological and critical textual approaches (Fluck, “Why We Need Fiction” 367). According to Laura Bieger, for instance, the narrative is “geared towards a receiver with the hope of engaging her in an act of exchange. This exchange is never neutral; on the contrary, it always entails a desire for change in the receiver, be it of opinion, feeling, or mood” (15).