By Isla Duncan
One of the first severe works on Alice Munro's writing, this examine of her brief fiction is knowledgeable through the disciplines of narratology and literary linguistics.
Through an exam of Munro's narrative paintings, Isla Duncan demonstrates a wealthy realizing of the complicated, densely layered, usually unsettling tales.
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One of the first serious works on Alice Munro's writing, this learn of her brief fiction is proficient through the disciplines of narratology and literary linguistics.
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Extra info for Alice Munro's Narrative Art
She is frustrated by her lack of knowing. Robert is also disappointed with Peg, because he thinks she should have contacted him, involved him somehow. Instead, he finds her in absolute control of her emotions, far removed from “any state of collapse” (p. 117). Indeed, she is so unaffected by the Weebles’ deaths that she has returned to work and looks forward to her usual lunch. In this second store scene, the narrator transfers the focalization to Robert, who notices the “long crusty smear of reddish-brown paint” on Peg’s coat hanging on the washroom door and then reappraises what he sees: “Of course that wasn’t paint.
They’re fine. ” “Are they? Yes, I guess they are. I haven’t been to see them for a while. ” I said, and she knew then what they had told me. (p. 209) In a gesture of concern, the narrator urges her sister not to feel guilty about how she had treated their mother, but Maddy flippantly dismisses The Confiding First-Person Narrator 25 the possibility of guilt, and swiftly tries to change the subject. . I wanted my life,” she drops the kitchen bowl she is carrying, sending it crashing to the floor.
12 In the context of “The Peace of Utrecht,” the instances of semantic discordance expose the intensity of, more specifically, the narrator’s guilt, as she strives to justify the withdrawal of filial love. That she searches for some consoling justification is evident in the plea, “how could we have loved her, I say desperately to myself, the resources of love we had were not enough” (p. 199). The extensive account of the sisters’ enforced solicitude of their “Gothic Mother” (p. 200) proceeds toward another gap in the narrative, prefaced by the clamorous confession, “I felt the beginnings of a secret, guilty estrangement” (p.