Abstract
Abstract Throughout the history of our field, collectors have dealt condemningly with the issue of fragmentation, casting aside collected fragments of story or song as inferior and celebrating the longer, more complete version. Nevertheless, a fragmented narrative may be the most artistic and competent way of handling particular performances in context. Studies of traumatic narration, co-narration, emergence, storytelling rights, and rupture have moved narrativity studies beyond surface understandings of a “correct” nature and shape of narrative, exploring the actual ethnographic contexts of narration. This special issue explores numerous concepts and cases related to unfinished narratives, trying to come to a fuller understanding of narrative gaps.
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