Narrative space is then no longer the box within which events happen, but becomes instead a literary space-time performed by story-telling. This chapter considers both these dimensions of literary space-time: the space-time of the narrative, and the space-time of the writing-reading event. In TransAtlantic readers encounter and co-produce a literary space-time that is multi-sensory and generated in movement. With its main characters making essentially the same transatlantic voyage, years apart, any attempt to map its narrative space would require a three-dimensional space-time map representing a hemispheric surface and a depth of 150 years. The narrative includes the sounds of the moment and how those sounds are experienced from the airmen's point of audition, but it is also produced by McCann and heard in the extra-textual literary space-time connecting him with his readers in the writing-reading event. Literary space-time resonates with sound and is sprung with rhythm.