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Loss of innocence literature
Loss of innocence literature
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When a child is born, he or she does not see the same things an adult sees. The baby does not understand language and cannot make the distinction between races or gender or good and evil. While it is impossible to go back in time, novels allow readers to take on a new set of eyes for a few hours or days. They give a new perspective to the world, and sometimes provide a filter to the things seen in the world. Unreliable narrators give authors the flexibility to lie to and withhold information from readers, providing new perspectives into the narrator as well as the other characters of the novel. Authors use unreliable narrators not to give more information to the reader, but to withhold information in order to further character development.
William Faulkner uses multiple narrators throughout The Sound and the Fury to depict the life of Caddy Compson without telling the story from her point-of-view. Benjy, a mentally disabled 33 year old, Quentin, a troubled and suicidal Harvard student, and Jason, a racist and greedy man, each give their drastically different sides of Caddy’s story to create an incomplete chronicle of her life. Faulkner’s first chapter explores Caddy’s life through the silent narrator Benjy. As a result of Benjy’s inability to talk, much of how he describes the world is through his heightened sensory awareness. Benjy constantly repeats the fact that, which, to Benjy, symbolizes Caddy’s innocence (Faulkner 6). Later in the novel when, Benjy realizes that Caddy has lost the innocence Benjy once idolized and loved (Faulkner 40).
Quentin’s depiction of Caddy’s loss of innocence is one in which he blames himself. The suicidal Harvard student blames himself for Caddy’s pregnancy and hurried marriage. Quentin repeats...
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...ith her peers. It is only when they couple desperately needs supplies that Katniss realizes, “ (Collins 297). Through Katniss’ unreliability, the reader is able to make realizations about her as she makes them about herself.
Unreliable narrators provide insight into the way they see the world by limiting the reader to one viewpoint. By providing a new set of eyes for the reader to see through, the author can give insight into the narrators mind and the way he or she perceives the world. Whether it is William Faulkner who gives every side of the story except the main character’s, J.D. Salinger who provides insight into the narrator through his criticism of others, or Suzanne Collins who has the reader make realizations about the narrator as she makes them about herself, authors use unreliable narrators to explore new depths of character understanding and growth.
In a written story, the details are permanent. One can not will the words to change in every copy of the same story. The author’s words are fixed and how the author created the story is how the story will always go. While it is true a reader -- or even the author -- could create an alternate reality where the story divulges from the original plot, the people in the story are typically the same.
Often, when a story is told, it follows the events of the protagonist. It is told in a way that justifies the reasons and emotions behind the protagonist actions and reactions. While listening to the story being cited, one tends to forget about the other side of the story, about the antagonist motivations, about all the reasons that justify the antagonist actions.
The main traits of the narrator are that the narrator is very observant with things that interest him, and is determined to find out everything about them in either through fascination or to use that information to his advantage. For example, the narrator knows many aspects of Sheila Mant’s mood through observation, “I had learned all of her moods/ if she lay flat on the diving board with her hand trailing idly in the water, she was pensive, not to be disturbed” (Wetherell 1), the narrator had a big crushed on Sheila, so he decided to learn everything about her, even knowing how her moods change based on observation her body language, which shows immense dedication. However, despite being deep in love with Sheila, the narrator had also great love
Another significant element to look at in Quentin’s section is his imagery. For one, “the mirror” constantly creeps up in Quentin’s mind and is a symbol of Quentin’s inability to look at Caddy’s marriage directly. Moreover, Quentin always sees Caddy as “ confined “in the mirror because this is his illusion of her childhood purity. He cannot accept that she has crossed the threshold into maturity. Doors are another important image in Quentin’s section. They portray Caddy’s actual entry into the world of maturity - a notion which Quentin refuses to accept. Water, as well, is alluded to often. It represents Quentin’s understanding of the knowledge of good and evil which he constantly tries to deny and his obsessions with sex and mortality. It is in water that Quentin finally decides to take his own life.
Now, one might argue that because the narrator thinks this story “is worth a book in itself. Sympathetically set forth it would tap many strange, beautiful qualities in obscure men”, then he is biased: ergo, he’s an unreliable narrator (1940). However, being biased in and of itself is not the sole criterion for a narrator be...
In ‘unreliable narration’ the narrator’s account is at odds with the implied reader's surmises about the story’s real intentions. The story und...
When we read any work of fiction, no matter how realistic or fabulous, as readers, we undergo a "suspension of disbelief". The fictional world creates a new set of boundaries, making possible or credible events and reactions that might not commonly occur in the "real world", but which have a logic or a plausibility to them in that fictional world. In order for this to be convincing, we trust the narrator. We take on his perspective, if not totally, then substantially. He becomes our eyes and ears in this world and we have to see him as reliable if we are to proceed with the story's development.
The narrator of a story is an essential component to a story’s credibility. Who tells the story determines how believable the story is and how much the reader can rely on the narrator to relay the information correctly and without bias. The reliability of the speaker is important to the success of the work and how believable the events of the story are.
Cathy throughout the story encountered being lied to or giving a false side of the story, which she expresses throughout the book. Giving that, Cathy excerpts somewhat of an authorial voice in her narration.
You can trust what a reliable narrator says. An unreliable narrator may lie, make mistakes, or simply not understand what's happening. Other characters, events, or even the narrator them self seems to contradict what the narrator is saying. For example, if a narrator claims to be very open-minded and not judgmental but then proceeds to describe another character in a judgmental way, they may be an unreliable narrator. An unreliable narrator may describe the world around them or the actions of other characters in a way that doesn’t match your own
The Sound and the Fury is a story of sometimes unclear focus. From section to section we listen to three brothers: Benjy, Quintin and Jason, discuss their lives. We discover the inner workings of their home lives. The narratives disclose that their mother, Caroline Compson is a neglectful, hypochondriac. Mrs. Compson is shown to be a very self centered woman who really doesn't harbor any affection for her family and by this lack sends some of them to find mothering from a different source. “ How can I control any of them when you have always taught them to have no respect for me and my wishes I know you look down on my people but is that any reason for teaching my children my own children I suffered for to have no respect.” (Faulkner, 61) We meet Mr. Compson, the father, who is shown to love his children dearly, though in the case of some does not always like them all. He just happens to be an alcoholic, “Father will be dead in a year they say if he doesn't stop drinking and he wont stop he cant stop....” (Faulkner, 79) who is eventually killed by his addictions. Also introduced and discussed are the various household staff members whom the brothers love as if they were family. The brothers discuss horrors and anxieties that they are dealing with in their personal lives. Benjy's horrors of being unable to communicate, being tormented by his brother, Jason, and eventually being castrated due to a misunderstanding cover section one. In section two, Quintin takes his turn to share the anxieties that time and sexuality (among other things) cause him. The last of the brothers narrations, that of Jason, delve into the cruelty he imparts on others, as well as the bitterness and struggles he rapidly accumulates in raising his niece. All o...
-the read must put more trust in the narrator in this type of situation in believing what they say is the truth
The narrator is also seen as trying to make himself look more important than the rest of the people. For example, he addresses the wife’s former husband as the officer, and also he refuses to use the name of his wife in most parts of the story.
According to Nownovel.com, an unreliable narrator is “a character who tells the reader a story that cannot be taken at face value” (nownovel.com). Much like Lockwood in Wuthering Heights, our narrator is unreliable simply because she is ignorant of what is going on. She is isolated at the Women’s Center and at the Commander’s house, so she has no idea of what is going on in the outside world. After she gets captured, she has no knowledge of the whereabouts of her husband and daughter, so therefore the reader will not know this either. By using an unreliable narrator, Atwood creates a sense of mystery and suspense, because the reader never knows exactly what is going on outside of the Commander’s house, other than Offred’s previous knowledge of the world of Gilead. One of the most stirring lines in the book is: “Maybe I really don’t want to know what’s going on. Maybe I’d rather not know. Maybe I couldn’t bear to know. The Fall was a fall from innocence to knowledge” (195). Not only is the reader left in the dark about things going on in the country of Gilead, they are also unsure of who the narrator even is. The reader is only shown the story in the present, with glimpses of the past in the form of flashbacks. In the Historical Notes at the end, the future historians that were studying her story said: “Our author, then was one
...onally narrated novels. With all of these different internal thoughts and external conversations of each narrator, readers are left with even more to decipher for themselves individually, instead of being able to follow along with collective ideals laid out by having a single, traditional narrator.