All of these factors are at play in the relations between the objects within a text, creating a form of reality with its own historic and mythic properties. Characters have their own histories and structures, expressed or not, and their perception into the fictional world they reside exerts influence outward to the reader of literature, or viewer of any art. This influence creates the sense of immersive reality that renders the experience to be mythic truth, based in facts but not emotion or direct perception, a somewhat distanced portrayal of events; or to be an expression of a characters perceptive truth, where we experience events much as it would be expressed in real life – confusingly and disjointed. To look into these narrative elements of a text, I will use examples from “The Red Convertible” by Lois Erdich, to demonstrate how the narration of Lyman itself is an expression of different psychoanalytic concepts, showing ho...
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...yman’s perception, through the narrative, leads one to believe that Henry is the problem, that he is being resistant to Lyman’s well intentioned attempts to return him to safety, for his own unaware good. In essence, Lyman is hijacking the reality of the story, by taking the historical elements of their relationship, and presenting them in a way that removes the emotional wave of experience. And with all of the other examples of repression and displacement, as well as selective memory, one can see that perhaps “The Red Corvette” itself is a representation of how we often place our experiences into mythical status as a way to repress the bad portions of experience. That even the grotesque sublime that occurs in life can be stripped to its core and retold in a way that makes it appealing, and thus controllable, as opposed to the unstable reality that surrounds us.
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