Does genre work by setting up a tacit bargain with the reader: Some questions are inappropriate? If for general example, you're reading the Grimm's version of Snow White you should not stop and ask what the prince is going to do with the dead girl in the glass coffin when he gets them home. Nor should you try and imagine his arrival at the palace and his parents' reaction. Doing either will kill the story.
Someone who objects to the prince kissing Sleeping Beauty because ‘it’s non consensual’ is making the same mistake.
In Culhwch and Olwen there's the 'Tale of the Oldest Animals' which I've just finished drafting. You have to accept animals can talk and people will understand them. But....the story itself:
Arthur and his men need to find Mabon mab Modron. To do this, they have been told that first they have to find his cousin, Eiddoel mab Eri. They find Eiddoel easily enough, he's being kept prisoner in a place called Gliui by someone with the same name.
Gliui is identified by the editors as Gloucester. Fair enough. Later, after a trek from one 'Oldest animal' to an 'Even older animal' our heroes discover Mabon is being held prisoner in Kaer Loyw, which the editors also identify as Gloucester.
So they free Eiddoel from the same place they free Mabon, though they go round the Wrekin to achieve this. I admit I’ve ever noticed this before when reading the story in translation.
Inappropriate, unanswerable questions here?
How can they both be prisoners in the same place? Who is keeping Mabon prisoner? Presumably it’s not Gliui because he's offered Arthur his help and support when he released Eiddoel? Was he lying? Is Arthur at fault for not asking if Gliui knows where Mabon is? Why do they assume that 'No one knows where Mabon is' means, 'Don't ask anyone except an animal'? Why does no-one else on the river hear Mabon lamenting? Why have they been told they needed Eiddoel to find Mabon when he is sent on the search but contributes nothing to it?
Why is the episode so satisfying and enjoyable until you start asking these questions? And this is true of so much of Culhwch ac Olwen and medieval literature in general.
Are we back with a specific version of Culler's 'Literary Competence'. The idea that you have to learn to read a literary text as a literary text on its own terms? And with this story, that means trying to learn what those terms are?