By I. Duncan
One of the first severe works on Alice Munro's writing, this learn of her brief fiction is trained through the disciplines of narratology and literary linguistics. via interpreting Munro's narrative paintings, Isla Duncan demonstrates a wealthy knowing of the complicated, densely layered, usually unsettling tales.
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Additional resources for Alice Munro’s Narrative Art
126) depicts a protagonist trapped by troubling memories, and lends weight to a reading of the periodic fits as belonging to the past. Robert is certainly disturbed by memories of conflict with his former partner Lee, which beset him in his evening walk across Gilmore’s snowy fields. It is in this section of narrative that a connection between the Weebles’ deaths and the protagonists’ past, intimate lives is clarified. Robert looks back on a time when he had argued with Lee and “all of a sudden, the argument had split open—Robert couldn’t remember how, but it split open” (p.
First, the Kuipers are presented in the kitchen where Peg prepares a meal, and into this ordinary domestic setting the neighbors’ deaths intrude. The younger son, Kevin, “another person who thought Peg should have let him know,” wonders how much “blood and guck” (pp. 122–23) there was, while the older son, Clayton, asks his mother if she screamed. After the meal, Peg reveals more to her husband about what she witnessed in the Weebles’ bedroom, including a detail that is, it later transpires, invented, about the man’s “leg outstretched into the hall” (p.
196, italics added). The previous passage is marked by a high degree of modality, illustrations of which are italicized. 11 Here, the narrator expresses possibility, and hypothesis, when she speculates on the reasons for her sister’s dutiful act, desperately searching for a motive that will “comfort” her, assuage her own remissness. The ellipsis is placed after the narrator’s speculation, inviting the reader to consider how plausible her speculation seems. In a substantial piece of analeptic narration, the narrator returns to the time of her arriving in Jubilee, at her former home, having made “a twenty-five-hundred-mile trip” with her two children.
Alice Munro’s Narrative Art by I. Duncan