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Sample text

It’s better than “to root for,” in that it implies an identification with a character, a throwing in of a lot with her. You can’t cathect with her from the sidelines; her heart beats along with yours. But, as we’ll see later, it doesn’t necessarily mean you like her. 3. From now on—in an attempt at clarity—I will assign any narrator whose gender is unspecified the gender of the author. The Story(ies) of a Marriage If there’s a common denominator in the texts I’ve chosen for this book, it’s that their narrative strategies continue to surprise and intrigue me, even and especially when they break their own rules, or when they signal a departure from the author’s previous work.

Back then, the speaker had to be pretty misguided to get slapped with the “unreliable” label, and, once his misguidedness became clear, it became the point of the story. These often got billed as character studies, which is something of a euphemism for stories in which the main character’s take on the plot that unfolds around him is more compelling than the plot itself. The term unreliable narrator, coined in 1961, has been retroactively and promiscuously applied to speakers from the Greeks to the postmodernists.

Context matters, but context doesn’t always offer a satisfying answer. Does Margaret know she can “only see the music,” or is that the narrator characterizing her as the “sensible” sister? Does Helen really see heroes and shipwrecks, or is that the narrator’s interpretation of what the “romantic” sister is seeing? In most cases, the narrator can have it both ways, but when he doesn’t, he attempts to clarify who’s thinking what, as in the first line of the next long paragraph of chapter 5: For the Andante had begun—very beautiful, but bearing a family likeness to all the other beautiful Andantes that Beethoven had written, and, to Helen’s mind, rather disconnecting the heroes and shipwrecks of the first movement from the heroes and goblins of the third.

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