Monday, March 11, 2019
Magnifying and Obscuring Essay
The stories of John Updikes A&P and William Faulkners A blush wine for Emily both make use of the early person pane of view in narration except with in truth polar and sort of powerful effects that in any case affect other divisions of the story. The ways in which these two stories play with the individual elements of a piece of fiction ground sightly how important it is to make sure that these individual elements atomic number 18 both taken cared of and built-up with equal care and attention, because a problem with angiotensin converting enzyme element can result into a problem with the entire story the elements must(prenominal) altogether(prenominal) be able to work together to support from each one other and to weave a tight story.A&P uses the first person, non-omniscient, singular dit of view (POV) narration to build rapport with the main(prenominal) character, Sammy for example Im in the third check-out slot, with my back to the door, so I dont slang them unt il theyre over by the bread I could see Lengel in my place in the slot, checking the sheep with. (Updike 560). This fraternity with Sammy is a very important one because it is pretty some(prenominal) the hotheaded force of the story learning of whats going on in a teenage boys head while in that location are half-naked girls walking about can make an interest read.This pointedness of view is unfeignedly what helps push the reader on along as she or he plods through the A&P plot. With A Rose for Emily, on the other hand, we are given the first person, non-omniscient, plural point of view. Obviously, because it is plural it cannot be the view of the main character, expend Emily Grierson. Instead we take care to feed the entire story narrated to us by the entire township When little girl Emily Grierson died, our whole town went to her funeral for a long while we just stood there, looking down at the profound and fleshless grin (Faulkner).This works to improver the myster y story that surrounds Miss Emily and her house because we never really knew what she is thinking or feeling. This point of view, giving an air of mystery, again, helps push the reader on to grip what happens throughout the story. Relating with the use of the POV are the disparate story plots. Here, we can see a great difference between A&P and A Rose for Emily because we find that one is mainly character-driven while the other has a strong plot that keeps the readers going through the story.It is A&P that is, obviously, character-driven because of its simple-minded plot of a boy wanting to elicit the attention of some(a) pretty girls, which is quite common. Even the events in the story and the simple chronological way that it folds are quite ordinary it is really Sammy his thoughts and his feelings that make a reader interested in the story. And, even up to the ending, readers are all interested only in Sammys fate and no one elses I felt how hard the world was going to be to me hereafter (Updike 564).In A Rose for Emily, on the other hand, we have a story with a strong plot, aided by the telling point of view narration, which moves the story along. The story hooks readers into the plot by making them curious about who Miss Emily Grierson is from the very beginning readers are wondering why she is a fallen monument and what is so interesting about the inside of her house (Faulkner). The non-linear timeline that the story follows also strengthens the mystery of Miss Emily because the building block to her life must be pieced together late and with a certain amount of intuition, at first.Now, the characters of the two stories are also very different one is as open to us as a book laid flat-open, while the other is mystery to the very end. With Sammy of A&P, we never seem to see a concrete glimpse of in terms of physical appearance but the readers would all know him if they met him. The first person narration lets us in on all the things that makes Samm y think and tick with that little grocery stop. In his expression of the girls, we find a young man with a keen inwardness and, also, an eye for beauty.He also shows us the ability of a well-grounded imagination when he imagines how the girls behave and how their relationships with each other must be comparable as when he describes the tall girl as a tall one, with black hair that hadnt quite frizzed right, and one of these sunburns right across under the eyes, and a chin that was too long you know, the loving of girl other girls think is very striking and attractive but never quite makes it, as they very well know, which is why they like her so much. (Updike 561) Sammy, as we can surmise, is a boy that is very much in-touch with his surroundings and his imagination. The characterization of Miss Emily, in contrast, is one that is left miry and shadowy. Because we only see her through the townspeoples eyes, we never really see her clearly we can only watch her through the sto ries, the memories, and the patchwork guesses that these observers give us.But even from this blurry view of Miss Emily through a window, we can see how guarded and closed-off she is from her environment as when she acted ignorant of Colonel Sartoris expiry (Faulkner) the total opposite of Sammy. In A&P, we are set-up in a small grocery store that effectively concentrates our attention on no one and nothing else but Sammy and his current preoccupation. The A&P grocery store acts as the perfect magnifying glass to help us focus on our main character and how he deals with the current situation.A Rose for Emily is set-up up throughout decades of a life and in different places of the town this manner of a setting makes for even more mystery as the reader tries to fill in all the gaps between the geezerhood that the narrators had no contact nor any knowledge of what went on in Miss Emilys life. The vast setting diffuses the readers minds and it wanders across time and space, searchin g for a complete picture of Miss Emily Grierson.These two stories, perhaps more different than alike, prove that just stories dont need to follow a certain pattern to mold in order to be good it is in the writer and the dedication to his work that makes a story count. kit and caboodle CitedFaulkner, William. A Rose For Emily. 16 February 2008. Fu Jen University Department of English Language and Literature. 26 June 2009 Updike, John. A&P. The Compact Bedford Introduction to Literature Eighth Edition. Ed.