Narrative spaces and their function/meaning : The Chapel in Nightwood by Djuna Barnes - Book Report/Review Example

The altar seems decaying and is in the chapel of the protestant ancestors of Nora (Barnes, 136). The characters are taken away from the realm of normative narrative and subjective consciousness. Nora hits the jab of the door at the moment of recognition. At the same moment, Robin, “begins going down” to begin her on all fours cycling with the dog in a world that speech of human is impossible (Barnes 138). Laughing, crying, and barking, she gives up, finally, same to the dog. This tableau ends the novel, which mocks O’Connor desperation of powers that are explanatory, Madonna’s, quest ideas promises, altars, chapels, sacrificial gesture of flowers and toys, all this seen as gestures which are emblematic of a cultural meaning desire.

The dog too, an animal tamed to react to the expectation of humans, is disoriented given that its sense of order that is narrative is affronted (Barnes 138). The chapel, the dog and the other Nightwood aspects, compel people to think of “The Waste Land” (Barnes, 128). The poem made Eliot to be the self-constructed modernism high priest. Conversely, while the anthropologist of culture may wish to state that these are same ruins and bones, a person has to think about the means in which the Chapel and the dog function perilously in the poem of Eliot to understand that the project of Barnes differs fundamentally in orientation and its intention.

Whatever Robin has the knowledge about, her tears and her laughter, is beyond the language and consciousness that we understand (Barnes 139). People get to understand this by the organization of the power of explanatory referred to as narrative transactions. There exists a suggestion that the dog and Robin copulate. However, there is no evidence within the text and equally Barnes denies the same. This suggestion has to do with the need of people to substitute action for speech, which is