Titlebook: Alice Munro‘s Narrative Art; Isla Duncan Book 2011 Palgrave Macmillan, a division of Nature America Inc. 2011 complex.fiction.linguistics.

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The Confiding First-Person Narrator,rrative perspective and their subject matter is not entirely within the writer’s experience.. The story “At The Other Place,” published in the . in September 1955, marks a significant change, for in it Munro draws upon her family’s circumstances, employing the first-person narration that, according

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,The “Queer Bright Moment”,s doing at its highest level,” but she is of the opinion that the stories generally lack “the intense visceral solidity of most of [her] earlier work.” She is disappointed with the title story, which she deems to be “a pale evocation of all the usual Munro elements,” and is also critical of “An Alba

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,“A Constant Reworking of Close Personal Material”,tween spaces in a structure she likens to a house, whose enclosed spaces may be “ample and easy, or full of crooked turns, or sparsely or opulently furnished.”. In her essay on the “Rose and Janet” manuscript, Helen Hoy examines the extraordinary lengths Munro will go to before she is satisfied with

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,“Marooned on Islands of Their Own Choosing”,ome Women,” of a summer so hot “the streets of the town… were sprinkled with water to lay the dust”. recalls the scene Louisa, from “Carried Away,” captures in a letter to soldier Jack Agnew, in the summer of 1917, when she tells of the watering tank dousing the “.” (., p. 8). The startling image fo

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,“Marooned on Islands of Their Own Choosing”,ing at the side of the road, bleeding, the “trickle of pink” oozing from under his head “like the stuff you skim off from strawberries when you’re making jam” (., p. 30). The graphic image is in keeping with the idiolect of both narrator and focalizer, for it is an ordinary, domestic analogy that wo

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https://doi.org/10.1007/978-3-322-98704-4ing at the side of the road, bleeding, the “trickle of pink” oozing from under his head “like the stuff you skim off from strawberries when you’re making jam” (., p. 30). The graphic image is in keeping with the idiolect of both narrator and focalizer, for it is an ordinary, domestic analogy that wo