By I. Duncan
One of the first serious works on Alice Munro's writing, this research of her brief fiction is proficient through the disciplines of narratology and literary linguistics. via reading Munro's narrative artwork, Isla Duncan demonstrates a wealthy knowing of the complicated, densely layered, frequently unsettling tales.
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Additional resources for Alice Munro’s Narrative Art
130) that turns out to be a pile of car wrecks in a junkyard. The impression of Robert as a romantic idealist prone to exaggerate, to imagine what is not there instead of noting the obvious, is sustained in the story’s ending. It is confirmed that his vision is unreliable, for what he thinks are outlandish giants are “nothing but old wrecks” (p. 131). In the description of this realization, Munro retrieves an allusion to proximity applied to Peg’s discovery of the bodies. The reader is told that Robert wanted “an explanation” for the shapes, but was “not getting one until he got very close,” that he wanted to tell Peg about “how close he had to get before he saw what amazed and bewildered him” (p.
CHAPTER 2 Changing Perspectives In the books that follow SOMETHING I’VE Been Meaning to Tell You, Munro relies less often on the first-person narrative perspective that, according to Robert Thacker, is “distinctive . . , published as The Beggar Maid in the United States and Britain, are told from a third-person point of view. Reference has already been made to this book’s complicated publishing history, one that illustrates Munro’s enthrallment to her artistic principles. 2 Two stories featuring the character Janet (as narrator) were held over for Munro’s next volume, The Moons of Jupiter; they are “Chaddeleys and Flemings” and “The Moons of Jupiter” and are the strongest stories in the book.
40). The admission that she is “trained” into acquiescence to her husband’s commands and wishes constitutes for me evidence of a self-image that needs bolstering. At the outset of the story, she betrays feelings of inferiority when she identifies with the middle-aged women in the audience at literary events, “who absorb the contempt of the men on the platform as if they deserved it” (p. 31). The narrator portrays Hugo as a man who sees “the world [as] hostile to his writing” (p. 40) and who expects his wife to act as a bulwark between his work and all that deflects him from it, a duty for which she feels inadequate.