writingsmog

mostly fiction, sometimes fact

Category: Point of View

Breaking the narrative circuit

In today’s blog I am going to briefly discuss the relationship between narrator and character by looking again at Favel Parrett’s Past the Shallows. Taking a structuralist view of fiction, it is possible to identify key narrative levels (author/reader, narrator/narrate, characters) that create narrative circuits. Pulling apart a story into its various narratological components can provide some really useful analysis of how a story hangs together. In particular it can help you identify and understand moments of transgression between narrative levels, whether intended or not, and what effects they might have.

Today, I am going to look at the division narration and the direct speech of a character. Of course this division is a fabrication. The narrator (arguably, as a proxy of the author) provides the situations and events and the architecture of the world in which a character speaks. However, it is a line that shouldn’t be crossed if the suspension of disbelief is going to succeed and the narrative believable as a realis100_2687t text. If this division is broken, you inadvertently foreshadow the artifice of the story. It loses a sense of plausibility. Direct speech should seem to be the words uttered by the character. If it isn’t the character speaking, the risk is that it may seem that the character is not embedded inside the text but is rather saying what the narrator wants him or her to say. As such, the character can seem like a reader of the story he or she is meant to be part of with a kind of met-awareness of the narrative itself. That’s all well and good if you are interested in Brecht’s A-effect or plan to write meta-fiction that messes about with how a story is framed, but it can otherwise make a realist story seem contrived.

As discussed in my last blog, Favel Parrett uses close third person narration in Past the Shallows to great effect, splitting the narrator’s gaze between two key characters, Harry and Miles. Although this form of narration sees the world pretty much through the eyes of one character (or in the case of Parrett’s book, one character at a time), when it comes to direct speech it is still important that the division between narrator and character voices remains clear. Direct speech is the purest expression of a character’s voice, thoughts, attitudes, point of view etc.

In the opening scene of the book, Harry is at the beach with his two older brothers Miles and Joe. While the others are out surfing, Harry forages and has an epiphany that I find quite jarring because it seemed like an observation of a much older character and seems heavily laden with an ideological point of view from outside the story.

Harry picked up an abalone shell, the edges loose and dusty in his hands. And every cell in his body stopped. Felt it. This place. Felt the people who had been here before, breathing and standing alive where he stood. People who were long dead now. Long gone. And Harry understood, right down in his guts, that time ran on forever and that one day he would die.[1]

A few moments later he tells Joe: “This place is old.”[2]

On the one hand, this could be read as a boy feeling a sense of his own mortality. Death is present in his world. His mother has died. However, there is more to this revelation than that. He seems to feel as though he is an interloper, made other by the history of landscape. It seems to me unlikely that picking up a shell would trigger such an observation in a boy of his age (I assume he is younger than ten, possibly as young as seven).

He seems to perceive something bigger in a kind of spiritual sense of place that is more akin to indigenous mythology than the musing of a young boy on a beach. Although not overt, there does seem to be a nod here towards the Aboriginal Dreamtime, a place beyond time and space accessed during dreaming and altered states of consciousness.[3] It is not just the story, which is relatively straight forward, but of it sense of place and how it confirms something about the Australian identity or how Australianess is conveyed in literary and artistic works.

Looking at this scene in the context of events to come, I am also concerned that he seems to foreshadowing his own death, which makes the epiphany seem especially contrived and offers that sense I mentioned earlier about a character being a reader of the story itself. Again, it seems to show overt intervention rather than something born out of the story organically.

Is this short scene an example of authorial intervention? Is this an example indigenous Australian culture being appropriated by the mainstream? There were enough of these qualities on the page to make me step back and wonder about these things. Rather than coming organically from the story, the sense of place and its inherent cultural identity seem somewhat forced upon Harry. But I am aware that my reading is just that, my reading. Others may beg to differ. I am an interloper here too, reading the book through my own lens.

I guess it hits home to me that when writing, maintaining a sense of authenticity about a character’s perspective, no matter how artificial, can be very challenging and there are lots of paper-thin walls that you can inadvertently pass through.

[1] Favel Parrett, past the shallows, published by John Murray, 2011, pg. 4

[2] Ibid., pg.5

[3] http://en.wikipedia.org/wiki/Dreamtime

Past the Shallows – when seeing through two eyes can be better than one

When it comes to writing fiction, few choices are as important than the choice of point of view. Who is telling the story? If they are a character in the story, what is their role and how to do they perceive events? If the third person is adopted, what is the narrator’s attitude to the story or it’s characters? Does the narrator see over the shoulder of one character (i.e. close third person) or is the narrator an omniscient god-like figure?

The answers to these questions will help inform the sort of voice that is adopted. It will influence the tone of the narration, how narrow or expansive the narrator’s worldview will be and therefore how much the reader sees. It can have an impact on issues of a narrator’s reliability and whether dramatic irony might be used.

From my experience, it’s not an easy decision. Getting point of view wrong can really kill the writing. But when you get it right, the narrative possibilities can really open up before you.

Favel Perrett’s uses point of view to great effect in her novel Past the Shallows and that’s the topic of today’s blog. She adopts a “close third person” style. This form of point of view involves looking over the shoulder of a character and is thus more limited in vision than an omniscient style of narration. Close third person creates intimacy. Flaubert, the great innovator, famously used this style to great effect in Madame Bovary.

What is interesting about Parrett’s use of the close third person is that she employs it with two characters rather than one and this point of view shifts between chapters.

Before going on, a rough outline of the book may be necessary for those of you who haven’t read it. And I must warn you: I’m going to talk about the end of the novel, so you may not want to read this blog if you plan to read the book.

Past tpast-the-shallows-by-favel-parretthe Shallows is a harrowing story of two boys, Harry and Miles, who live with a violent father, an abalone fisherman in southern Tasmania. Harry is the younger of the two and I figure he is around eight years old. Miles is presumably a teenager. The story chart’s the boy’s quest for survival and to find out more about the suspicious death of their mother, who died in a car accident. Questions remain about whether Harry is in fact the child of their mother’s lover, which adds to the sense of risk for him in the household: the father figure treats him more disdainfully than he treats Miles. Their harsh domestic existence is matched by the precariousness of life on the sea.

The close third person point of view shifts between Harry and Miles (they have an elder brother, Joe, although he has a more minor role than the other two). This works really well to control the flow of information and how their domestic experience is viewed by each of the characters. The contrasting lenses also convey tension, for example, when Harry defies Miles’s wishes and disappears to find solace at the home of George, an ambiguous character who lives simply in a house in the bush. The dual points of view also work well with ellipses, another device Parrett uses to great effect (although she may be too elliptical at times, leaving some characters underdeveloped). Many events occur off screen, including the potential death (or otherwise) of Dad in the climatic fishing accident in which Harry dies. Interestingly, we are left hanging about Dad’s fate.

However, the device is most powerful when Harry dies at the end. By implication, one of the points of view is killed off. As a reader, I felt the loss of a narrative position gave his death greater immediacy. I no longer had access to his point of view.

Parrett could have achieved something similar by using two first person points of view. This might have been quite effective. Given how young the boys are in the story, Parrett could have exploited dramatic irony, allowing the reader to understand more than the characters. However, the Parrett’s evocative, dreamlike narrative voice would have been lost if she’d chosen to write in first person and field of vision of each character more limited (a third person, even a close one, allows a certain amount of peripheral vision). Overall, I believe Parrett’s use of dual close third person points of view works.

There is more to be said about how point of view works in Past the Shallows, which I will leave until my next blog. That discussion will look at point of view in terms the particular way a character sees the world. I will look at a section early in the book where I feel the narrator seems to impose a certain perspective on Harry, making his way of seeing appear somewhat contrived rather than an observation he might make himself. It will hopefully be an interesting discussion. Thanks for reading.

Clare Fisher - Writer

Writing, Reading & Teaching Fiction

Radical Statistics Group

Using statistics to support progressive social change

The Coach House Company

Five-piece folk band based in London

tobylitt

a to z of the writer of the a to z

The Sustainable Investor

the best way to predict the future is to create it.

Emotional Finance

Taking a look at our emotional and psychological relationships with money and finance