By I. Duncan
One of the first serious works on Alice Munro's writing, this examine of her brief fiction is expert by way of the disciplines of narratology and literary linguistics. via studying Munro's narrative artwork, Isla Duncan demonstrates a wealthy figuring out of the complicated, densely layered, frequently unsettling tales.
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The gap also marks a boundary between what Robert saw, and did not see, outside the Weebles’ house and what he imagines his wife witnessed inside. Robert’s reliability is undermined, first, because he is an incomer and does not fully know Gilmore, and second, because it is implied that his capacity for alert observation is lacking. Unlike her husband, Peg is depicted as watchful, someone who would be more attentive to detail, for she is variously described as self-contained, unobtrusive, earnest, and conscientious (p.
The reader can sense the narrator’s regret when she concedes that Maddy is aligning herself with “these people” from Jubilee, that she wants to feel part of the community. The regret stems from the realization that her younger sister is, unlike her, now “repudiating the monstrous snobbery” they had both been keen to cultivate when they were young and wished for “much bigger things than Jubilee” (p. 192). The narrator feels alienated from her hometown, from her sister, and from childhood memories they share.
113) With its initially informative function, and the inclusion of the reporting clause “she thought,” the first paragraph reads like heterodiegesis. However, the account assumes the qualities of free indirect discourse, evident in vestiges of informality and markers of modality and contingency. These make the report seem less authoritative. What follows in the narrator’s interjected parenthesis confirms that it is speculative, and, along with the allusion to his forgetting, provides further evidence of Robert’s unreliability.
Alice Munro’s Narrative Art by I. Duncan