In particular, my group members and I realized the characters development impacted our understanding towards some characters in the novel. Thirdly, Holman challenged my response to some of the human condition that took place in the novel. The entire novel The Dress Lodger had interesting twists and plot through out the novel. First of all, my response to the novel was impacted by Holman's writing style due to unclear narration in the novel. The majority of the novel did not refer back to who the narrator was in the novel until the very end.
By decentralising the notion of authorship, Nicol suggests that Spark generates a complementary model of reading. Once the author becomes a suspicious figure, then the reader’s role needs to alter in response. The reader is invited, required, to become a kind of detective-figure, trying to make sense of the inconsistencies, gaps, and contradictions in the narrative (123). While Nicol only comments upon the author as an unreliable figure, his observations can be applied to the roles of the reader and the critic as well, whose provisionality as literary conventions are foregrounded by the self-reflexivity of metacommentary. The framing narratives, which seem unproblematic at the start of the text, gradually intersect in a way that eludes the neat closure of a “Russian-doll” hierarchy of authority.
The character of Briony would rather a tidy fiction then an unorganized reality. That as a result leads to guilt and regret. Wood, in his analysis demonstrates how McEwan through Briony demonstrates the separation of characters in order to show a reader how to inhabit the mind of characters. Upon reading the novel there is a temptation to condemn Briony for her childish wrong doings. Wood analysis this in saying, “that this moving out of ourselves into realms beyond our daily experience might be a moral and sympathetic education of its own kind…”(Wood, 102).
With the sophisticated collaboration of the first and third person narrative, Timothy Findley creates doubt and concern regarding the validity of the stories being told. Findley has been able to create a story within itself by compelling the reader to use their imagination and deductive skills to determine the difference between fact and fiction, and identify the misunderstanding through interpretation. Through the delivery of the novel by the use of several perspectives, the truth becomes blurred, forcing the reader to make their own conclusion regarding the eventful story and Mauberley’s character in spite of the use of mixed interpretations. Mauberley’s death can be attributed to the fact that his “notebooks were feared like a morgue where the dead are kept on ice-with all their incriminating wounds intact” (Findley 21). His writing includes the secrets of the cabal and the people involved.
Me and Miss Mandible - The Narrator Are we frightened of the "fantastic" literary text? Is there something inherently threatening about a work like Barthelme's "Me and Miss Mandible," something obtrusive which, as we read, forces us away from the text? A pronounced feeling of uneasiness seems to mark our reception of Barthelme, a range of anxiety expressed mainly in our responses to the story's narrator. Questions concerning his reliability and authenticity, and why Barthelme chooses to construct him in the manner he does become paramount, serving as pivotal gauges from which we read and critique his character. However, in establishing such gauges we retard our entrance into the "fantastic," reducing the elements of Barthelme's fiction to mere "realist" side effect: by-products of a normative writing model.
Finally, the use of complicated diction makes it arduous to understand what the article is attempting to get across. The stylistic choices that the author uses takes away from the message of the article. Over describing little things when writing an article that tries to send a message, actually makes
It is consequently difficult for any transmission of thought or word to stand clear of this intrinsic dogma. In a novel that uses language as a device for uncovering the perceived identity of its protagonist, F. Scott Fitzgerald's The Great Gatsby also shows evidence of this same external narration that attempts to achieve discrimination between classes and control the behavior that governs social conduct. Fitzgerald's narrative strategy of using the character/observer Nick Carraway creates an ambiguity that distorts the reality of who the story is about and instead the story becomes about what the narrator sees and consequently interprets. In doing so, the author allows the reader to witness Nick's own authoritative scourse. By beginning the first chapter with Nick's account of his father's advice, Fitzgerald reveals the external narrative that governs Nick's interaction and comprehension of the events that unfold.
Rushdie, challenges the conventional modes of history through his self reflective narrative structure. The passage is a good demonstration of its topic as it illustrates the problems of re-writing history. His mode of writing attempts to encourage the reader to reconsider the valid interpretation of his history. Saleem writes “please believe that I am falling apart” ,as he begins “to crack like an old jug”, illustrating a sense of fragmentation of his story. This parallels the narrative structure of the novel as being circular, discontinuous and digressive.
In both of the articles, each author is trying to share his view, or theory on the short story. The view of Edgar Allen Poe is very pessimistic toward the novel and other forms of long fiction, while B.M. Ejxenbaum takes a more analytic approach. Poe writes, 'The novel certainly requires what is denominated a sustained effort—but this is a matter of perseverance, and has but a collateral relation to talent. '; Is the main difference between the authors of short stories and those of novels that the novel writers are just non-talented over-achievers?