![]() ![]() If Rickie were so closely intertwined with the authorial voice, then it would seem that there is no room for intimacy with the reader. The only difference between the two is that the narrator is consciously aware of what Rickie's subconscious knows, but can't admit. ![]() The narrator's voice and Rickie's are essentially interchangeable. The Longest Journey's most difficult problem is that it introduces itself as a modernist novel whose commitment is to style, yet its story is obviously Forster's personal account of a series of emotions and events in his own life. Particular points in the story, such as Rickie's realisation that Stephen is his half brother and the reintroduction of Ansell teamed with Stephen, leave us in a troublesome position asking whether this highly personal story was sacrificed to the musically fluent style Forster was working. ![]() The overemphasis of these points crowded with immense symbolism leads us to question the effectiveness of Forster's statements. As the events of the story unfold, we see the frame leading us to a central statement about the human condition. The structure in which Forster composes The Longest Journey sometimes borders on an obsessive control of the novel's plot and particularly the characters. ![]()
0 Comments
Leave a Reply. |