Narrative pace is the fundamental determiner of temporal transitions of a literary text; it governs the continuity and rhythm of certain facts or events illustrated in the text. A literary text acquires its fictional integrity and compositional patterns through myriad flows and accelerations that accompany the narrative pace. Therefore, compositional maneuvers reveal the intellectual and ideological representations of literary texts. In this context, the narrative pace becomes a fictional tool that mediates between narrative aesthetics and ideology. The narrative pace provides an extension and transitional space for the literary text through ideologyladen syntactic repetitions and textual momentum. The narrative pace can also be articulated through leitmotifs, which become a descriptive strategy that signifies the fictional velocity and acceleration of a literary text. Adalet Ağaoğlu was a crucial literary personality of Turkish literature. She established a fictional connection between the literary and aesthetic realities of the narrative and its ideological ground. In her stories, the narrative pace manifests this link and reveals the associations between narrative aesthetics and ideology.

The narrative pace finds its ideology-laden meaning in the transition periods of textual content and in the widening thematic spaces. The narrative pace is foregrounded in Adalet Ağaoğlu’s fiction through the impact of temporal transitions and the persistence and cadence of particular phenomena or events that occur in the ideological emphases of the text. The fundamental structures that shape the narrative pace of Adalet Ağaoğlu’s fiction include several distinctive transitional features. Seasonal shifts are observed. Ideology-laden fictional characters appear recurrently. The social diffusion and sequential progression of theological and historical figures are consistently manifested. Transitions are created through internal dialogs. The perceptions of protagonists are harmoniously aligned with radio broadcasts. Statements and terms are accorded repetitive rhythms, and syntactical pulses and effects suggest automated modernity.

The narrative tempo of “Yüksek Gerilim” is designed to parallel seasonal transitions and evoke agricultural vistas, with the plot accelerating through sections of additive-dependent sentences. In “Gün Üç Dakika,” an amnesty decision statement expected by the protagonist is repeated throughout the story, and its continual iteration generates the narrative pace of the text, thereby establishing a direct connection between the hope of amnesty and the narrative pace. “Sen Ey Kutsal Işık” describes the birth and death of Jesus as a historical and religious character, and the epic of the Great Commander shapes the narrative pace of the story. Jesus and the Great Commander represent the two dominant elements of the propagation mechanism of this text. The protagonist of “Eskiden, Bir Sabah” initiates an internal discourse on the behavior of a leftist/revolutionary teenager who spits at his feet. The narrative pace of this story is adapted to the flow of these dialogs. In “H,” the protagonist listens to the Apollo 11 adventure on the radio and becomes lost in thought. The main character’s thoughts and the radio broadcast are simultaneously presented, thus creating a commonality of flow between the pace and the plot of the narrative. Sultan, the protagonist of “Dar Odanın Karanlığı,” continually revisits her impression of the last image on the television screen after the electricity is cut off. This image is persistently displayed in the text to shape the narrative pace of the story. In “Çok Özel Küçük Şeyler,” the main character cannot forget the sound of the misfired gun pointed toward her from a car window; the click keeps replaying in her mind. “Asri Zamanlar Kilimi” conveys an encyclopedic knowledge of carpets and mechanized looms, thus incorporating distinctive rhythms through intermittently reiterated words and phrases.