By Christopher Castellani
A author could have a narrative to inform, a feeling of plot, and robust characters, yet for all of those to come back jointly a few key questions has to be replied. What shape may still the narrator take? An omniscient, invisible strength, or one--or more--of the characters? yet in what voice, and from what vantage aspect? the right way to come to a decision? heading off prescriptive directions or arbitrary ideas, Christopher Castellani brilliantly examines many of the methods writers have solved the the most important point-of-view challenge. by means of unpacking the narrative innovations at play within the paintings of writers as varied as E. M. Forster, Grace Paley, and Tayeb Salih, between many others, he illustrates how the author's cautious manipulation of distance among narrator and personality drives the tale. An insightful paintings through an award-winning novelist and the creative director of GrubStreet, The paintings of Perspective is an engaging dialogue on an issue of perpetual curiosity to any author.
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Extra info for The Art of Perspective: Who Tells the Story
Example text
We have come to expect him to dominate every scene, and we’ve gotten used to the characters not as props, but as lenses through which he frames his observations and speculations. There’s something so, I don’t know, imperious about him. I’m not here to reveal how an author comes up with a narrative strategy, mainly because every author works differently, but also because the process is not top-down. I’m sure a checklist exists online, but I’m afraid to look. I prefer to think that a story teaches its author how best to tell it, and that when a story simply won’t get written, it’s because the author’s not listening.
I want to understand why one narrator compels us and another—maybe even one with a better story—leaves us cold. I believe in the potential for chemistry between any reader and character, and I believe in the irrational and inconsistent subjectivities of taste, but I believe most strongly in an author’s artful and intentional manipulations. In other words, I believe in craft, which is nothing more than an informed bet an author makes on the set of tools at her disposal. Narration is craft’s most powerful, defining, and revealing tool.
Offer sex? Would she ruin our last night together? “I blew my brains out on cocaine in the ’70s,” she said, and then, with girlish buoyancy, she went on to describe the limitless freedom of that now-distant age, the wild parties that lasted into mornings, the friends who lived in the brownstones that surrounded us. All of these friends—mostly gay men, she made clear, some of whom were her lovers—were dead now. Those who were left were out to get her. They had a score to settle, though she never made its terms clear.
