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By Christopher Castellani

A author can have a narrative to inform, a feeling of plot, and powerful characters, yet for all of those to come back jointly a few key questions needs to be replied. What shape may still the narrator take? An omniscient, invisible strength, or one--or more--of the characters? yet in what voice, and from what vantage element? tips to come to a decision? heading off prescriptive directions or arbitrary ideas, Christopher Castellani brilliantly examines many of the methods writers have solved the an important point-of-view challenge. by means of unpacking the narrative options at play within the paintings of writers as varied as E. M. Forster, Grace Paley, and Tayeb Salih, between many others, he illustrates how the author's cautious manipulation of distance among narrator and personality drives the tale. An insightful paintings by way of an award-winning novelist and the inventive director of GrubStreet, The artwork of Perspective is an engaging dialogue on an issue of perpetual curiosity to any author.

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Additional resources for The Art of Perspective: Who Tells the Story

Sample text

But what is this so-called contract with the reader but the author’s attempt to establish her narrative strategy, and what is a reader’s acceptance or rejection of the contract if not the acceptance or rejection of the strategy overall? By narrative strategy, I mean the set of organizing principles that (in)form how the author is telling the story. If perspective is a way of seeing, and narration is perspective in action, then a narrative strategy is the how and the why of that seeing. Just as every driver has some idea how to get from one destination to the next and a rationale for having chosen her route, every story has a narrative strategy.

It is cheap, even if you hear it in the Queen’s Hall, dreariest music-room in London, though not as dreary as the Free Trade Hall, Manchester; and even if you sit on the extreme left of that hall, so that the brass bumps at you before the rest of the orchestra arrives, it is still cheap. He’s showing off a bit here, flexing his narrator muscles, all the while demonstrating the flexibility of free indirect discourse. More importantly, he’s continuing the process of marking his territory, a process that began with the first sentence.

We sense (accurately, as it turns out) that we have other things to focus on, and that the narrator will get to them soon enough. A similar, but even more striking, thing happens on the day that Adela testifies in court against Aziz. The mystery at the heart of the novel’s plot—the chief unknown—has been what happened between her and Aziz in the Marabar cave, and finally Adela will be forced to describe the incident and face cross-examination. Not only must she have a lot on her mind, but the narrator must feel obligated to convey her emotional state, both before and after her testimony.

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