Michael Cunningam adopted intertextuality as structural in this fiction, in that it is a text that connects the lives of three female character , having apparently no relation. It is Cunningam's game like the attitude to the structure of the novel that becomes interested for the intelligent reader  because he understands that in a decentered world the only connection is provided by  text which becomes the survival island for a series of character that provide a super example of the multifaceted identity never totally grasp by the same character and the reader as well.

Postmodernism finds in the Hours its realization, differently from a modernist attitude where characters are generally living a quest to find balance or a form of order that might give them a reason for living according to a metaphysical principal, Cunningam's character  male and female can only display their different aspects where once's identity  is only provided by the mirror image returned by their interlocutor/s. There exists no unique essence or finite soul and that is why the Hours is an appropriate title. It reminds fragmentation, a dissociation of sensibility where different identities of one character  come into focus according to context and content: the content of their interaction.

The intelligent reader therefore can identify with the essence he or she feels closer to. There is no protagonist if not the text which stands in the middle of the discourses their life is made of. It follows that Cunningam might be considered the celebration of textuality, across a network of discourse where it is the reader's ask to find a possible direction.