Atonement - What Does This Novel Have and Say About Secrets and Lies?

In the book, the Truth About Stories, Thomas King sheds light on the power of stories. King explicitly enforces that one must take caution in the way he or she tells a story, since it will shape one’s thoughts, decision-making and future (2). Through the use of literature, King weaves his way through native history, anecdote by anecdote, informing his readers about the importance of storytelling. “Stories are wondrous things,” the author writes. “And they are dangerous.” (9). To prove this, King mentions two creation stories; the differences in these stories is the way in which they are told. The first is a famous native story called, “the woman who fell from the sky”; this story is told in a complex, persuasive way (10-20). This story discusses a society emphasizing the value of cooperation as the animals work together to create a better world (21-22). The second story, a Judeo-Christian biblical story, describes a Western Capitalist society. It is told in a historical, punitive and direct fashion, underlining a society of boundaries and punishment. King highlights that storytelling is not just simply telling a story, rather it is how the stories are told. King uses these particular stories to show how different stories shape people’s perspectives, which impacts their ideas, thoughts and decision making. Therefore he addresses how sensitive storytelling may be, for once a story is told, it can never be taken back (10). This is true in all realms of life, cautioning

In the novel Atonement, McEwan juxtaposes the unique but conflicting ways that his characters perceive and understand their world. McEwan intentionally

In The Scarlet Letter, Nathaniel Hawthorne exhibits how three very unique characters are evidently brought together by the sins that they have perpetrated and how they manage to perform acts of atonement in the puritanical Boston society. Hester Prynne sins by committing the shocking transgression of adultery. Reverend Arthur Dimmesdale, who as well engages in adultery with Hester, abandons her and their daugher because of his own cowardice and hypocrisy. Roger Chillingworth grows to become a maleficent being who tries to corrupt the very soul of Reverend Dimmesdale. Although Hester Prynne and Arthur Dimmesdale do sin greatly, it is Roger Chillingworth who sins to the most ferocious degree.

A tragedy story portrays a noble hero and heroine downfall through use of fate, the will of gods and hubris. The book “Private Memoirs and Confession of a Justified Sinner” is a tragedy because the book narrates a story about Wringham who had involved himself in crimes. At first, evil triumphs over good as Wringham had been filled with self-righteousness and hatred and these attitudes made him to believe that any crime was right according to his religion including murder. The story is full of crimes like murder, horror, religious fanaticism, fantasy and folklore (Hogg & Carrey 50). The publisher of the story was popular due to his magazine articles and poetry and he was also self-educated thus he published the book with the idea that the information in the book is strange. This idea was as a result of horrific theme matter and experimental style which he used in the book and he knew the general public would not appreciate his book. A French writer Gide in 1940s argued that the book was a masterpiece. The story has three categories to enable readers to understand different ways in which the book exist like folklore and local tradition. The first category summarizes all events which Wringham did to make readers understand why Wringham opted for confession. The second category narrates of the shocking confession process of Wringham who was obsessed with crime for a long period. The third section talks of finding of how Wringham confessed and revelation of his characters after

From early on in his career, Ian McEwan has proved himself to be a novelist very much interested in the morals of individuals, often positioning himself to explore diverse moral questions and dilemmas that human beings are challenged with, as conveyed clearly in his metafiction novel, Atonement.

Atonement, by Ian McEwan, explores the theme of love through a variety of techniques such as symbolism, metaphors and repetition delve into various aspects of love, such as misspent, newfound and unavailable love. Uniquely, McEwan intertwines these techniques with foreshadowing and imagery to convey complex emotions such as love, guilt and jealousy. Additionally, the theme of reality and the imagination is established through repetition and Cecilia’s characterisation.

In his collection of short shorties, O’Brien writes in a style that is very vivid and often times causes the audience to find themselves accepting the events and details of these stories as the truth. O’Brien contrasts the truth to fiction by reminding the audience that within these short stories, the details are not the truth and are there to demonstrate the human emotions that can not be communicated as absolute facts.

Fiction has been around for centuries, feeding the imagination of young and older minds. Usually when people read a fictional story, they don’t think about the connotation the story tries to convey. But every story has a message, and whether it be big or small, it takes a complex, deeper thinking to be able to find that message. It is apparent that the reason we study fiction is to be able to find that deeper thinking within ourselves and enrich our imagination.

One key component to making a story thought provoking and leave a lasting impression on the reader is efficient use of rhetorical devices. Flannery O’Connor implements symbolism, irony, metaphors, and strong imagery to supplement her plots with a message that isn’t found on the surface but requires the reader to divulge and explore all the possibilities of representation in her text. Whether illustrating a stormy backdrop as a metaphor for turmoil or three bullet shots as a final offering of atonement, O’Connor depicts a road to salvation through the unlikeliest of representations. This trend becomes apparent as one can identify the path to penance made by the protagonist in such stories as “A Good Man Is Hard To Find”, “The Life You Save

A story may depend on the structure of the book and how well it flows from page to page, but yet it strictly depends on the word choice and how effective the author is able to apply rhetorical devices. Stories such as A Separate Piece, A&P, and The Man I Killed, is able to effectively portray the character’s emotion, thoughts, and the intent of their actions. The authors use heroic, rhetorical strategies to reveal Tim, Gene and Sammy’s struggle to overcome their own selfless desires and ignorance toward the consequences, resulting with each protagonist’s life lesson.

In McEwan’s Atonement ventures into the lives of the Tallis sisters and the complexities that naivety and selfishness can inflict. Briony Tallis’ perjury against Robbie Turner, in her cousin Lola’s criminal rape case, disrupts the Tallis family dynamic and the budding romance between Cecelia Tallis and Robbie. Briony’s maturation and realization of her wrongdoing implores her to become a nurse during WWII. In Atonement, McEwan depicts a family in turmoil over the lies of young Briony during World War II. The imagery and symbolism portray Briony’s characterization through her attempts to serve penance for her betrayal with symbolism and imagery. Briony’s limited point of view effects the tone of the novel through an unreliable eyewitness

Briony Tallis: Briony Tallis is the protagonist of Atonement. Though Briony has two older siblings, Leon and Cecilia, they are both at least ten years her senior. Therefore, Briony grows up virtually as an only child and as a result is quite self-centered. Briony is introduced to readers when she is working on her play The Trials of Arabella. Through Briony’s writing process and inner thoughts, readers are made aware of her obsession with order and control. This obsession combined with her self-absorbed mindset fosters Briony’s unaware naïveté. Briony believes that she understands everything that occurs around her, when in reality, she cannot understand adult concepts and ideas that do not yet pertain to her. It is this obliviousness that leads to her rape accusations against Robbie—Briony is unable to see the love between her older sister Cecilia and Robbie, the servant’s son. Once Briony matures, she begins to realize the depth of the consequences of her actions, and throws herself into atoning her “sins.” In doing so, she writes her own novel involving a couple that represents Robbie and Cecilia, and feels that she can relieve herself of guilt by admitting to her wrongdoings and rewriting the fates of the two lovers. However, the novel simply paints Briony’s naïveté in a new light—though she has grown up, she is still unaware of the dire

Ian McEwan's novel Atonement is a story about two lovers separated by the second World War, although published 60 years after the fact in the year 2001. The story is a postmodern novel that features an unreliable narrator, the protagonist Briony, and therefore the entirety of the novel is questionable. Uses of other texts within Atonement aid in the foreshadowing of the story as well as developing an understanding of the plot as well as considering parallels to other literature.

In his essay “Who Killed Robbie and Cecilia? Reading and Misreading Ian McEwan’s Atonement,” Martin Jacobi argues that Ian McEwan dramatizes misreading and warns readers against misreading, but also causes his readers to incorrectly read his novel. Jacobi shows us how easy it is to misread in Atonement and this makes readers more likely to sympathize with Briony’s misreading. He further discusses how the narrative encourages us to believe that Robbie and Cecilia’s love story must end tragically even though there is no reason to do so. Even though the readers see what terrible results Briony’s misreadings have on both Robbie and Cecilia, we are then tempted to make the same kinds of misinterpretations about how they turn out. In his literary analysis of these aspects of Ian MacEwan’s Atonement, Jacobi makes it clear to readers that they are wrong to assume that Robbie and Cecilia die, so if they decide that they have died, the readers are the ones who kill them. While I agree with Jacobi’s claim that the narrative does not clearly tell us whether Robbie and Cecilia die, in this essay I will argue that assuming that Robbie and Cecilia die is a very reasonable supposition and it is a more logical assumption than that the couple does not die. Jacobi himself states that “the most dominant interpretation for reviewers and critics is indeed that Robbie and Cecilia die during the war” (Jacobi 57). Perhaps Jacobi overanalyzed the text to create an opposition that there was no need

They way stories are told may morph, but never will storytelling cease. From their people skills to their memories, there is no argument that storytellers possess boundless talent and intelligence. They were the first educators. And now, storytelling is a large part of everyday life. The news in the morning, the gossip throughout the day, the casual response to the casual “What’s up?” – It’s all a form of storytelling. Our lives are steeped in it. In almost every conversation a story is told. At every turn a story is born. So we all are storytellers, and the world is our audience, just waiting to hear the gospel leave our