The narrator does not address Robert by his full name, he address him “this” blind man instead of a blind man. Carver allows the reader to make the assumption that “this” blind man is of great importance to the narrator. “This” also conveys a direct relationship between the narrator and Robert even though they have never met, it also has a slight hint of arrogance to it (Peterson).The narrator has a pessimistic view of Robert before he ever has a chance to have a discussion with Robert. The narrator’s education on blindness “came from movies” (32) and he stereotypes all blind citizens as someone who “moved slowly and never laughed” (32). The narrator has a negative view of himself and it rubs off on him before his initial meeting with Robert. The narrator clearly is was passionately in love with his wife early in their relationship and she clearly loved him. The narrator is very protective of her and no amount of money could part them from love. The narrator backs this up by saying “She didn’t have any money. The man she was going to marry at the end of the summer was in officers’ training school. He didn’t have any money, either. But she was in love with the guy, and he was in ...
... middle of paper ...
... man that was trying to have an affair with his wife. Carver uses this story “Cathedral” to open the readers eyes and send the profound message of intolerance and ignorance and how one can be blind mentally not physically. The narrator is so hostile to the idea of a visit from Robert because he is blinded by jealousy, anger, and confusion.
Peterson, Polly Rose. "Psychological Distance In Raymond Carver's CATHEDRAL." Explicator 70.3 (2012): 167-169. Academic Search Elite. Web. 7 Mar. 2014.
Messer, H. Collin. "Fleeing The Wasteland Of Alcoholism: Alienation, Recovery, And Hope In Raymond Carver's Cathedral." Studies In Short Fiction 37.1 (2012): 43-58. Academic Search Elite. Web. 7 Mar. 2014.
Carver, Raymond. “Cathedral.” The Norton Introduction to Literature, Portable 10th ed. Ed. Alison Booth and Kelly J. Mays. New York: Norton, 2011. 32-44. Print.
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