Comparison of Storytelling Rules in English Literature - Essay Example

?Introduction The mark of good literature is measured by the ability to play with expressions and make the content remote yet relatable to the reader. A technique, which is often used to convey the point in fiction, is through the use of narrative fiction. This allows the narrator to speak directly to the audience while creating specific associations with the story. There are different developments with narrative fiction, all of which develop a different approach to creating the correct expression. In this article we will compare a piece of narrative fiction and review the various guidelines and narrative rules as laid down by theorists like Carter, Short and others, with an extract from a work of non-fiction. The piece that we will be reviewing for fiction would be “The Wind Up bird Chronicle” by Haruki Murakami. The comparison of this narrative fiction with an extract “Touching the Void” by Joe Simpson will allow us to examine the similarities in the handling of a subject in both fiction and non-fiction. The similarities and differences are able to convey the main point of the narrative while allowing the reader to understand the main viewpoints of the writer and the theme presented throughout the story. Defining Narrative Fiction Narrative fiction is defined as anything which is able to create a story which is told by the narrator and to the reader. The narrator is an essential element of the story, specifically because this character is the main player. The story as told by this main character, acting as the main narrator in the story also enables the reader to view it from his point of view. Without the narrative voice holding specific elements and language, there is the inability to convey the right discourse or message to the reader. This is not only based on the development of the character in terms of basic details but the narrator is also responsible for conveying emotions, persuasion, imagination and perspectives which relate to the plot or other characters that are described in the specific narration. The style of the narrator, voice which is created and the relationships which are developed with the text create the main performance by the narrator in describing the conflicts and resolution of the story (Owen, 2006: 4). Ways to Tell Stories The first aspect which is noted with narrative fiction is based on the approach to telling the story. The expressions used are able to create a specific relationship to the reader while developing the plot, characters and the internal understanding of the specific situation, which is conveyed. The narrative is one which follows a specific structure and development of plot line. This is followed with interactions, conversation and the ability to construct a specific identity with the narrator. The voice which is developed by the narrator is what allows the identity to be conveyed to the reader and is what guides the interactions and conversation that occurs. It is through these specific elements that the narrator is able to tell the story and identify specific elements that are associated with the narrative fiction. By doing this, the meaning of the story is able to develop more while allowing the narrator to guide the reader in understanding the story line. While creative elements are important and play a vital part in the development of a story, there are other influences, which relate to the expressions throughout the story, including cultural, social and philosophical associations with the text (Owen, 2006: 17). A similar approach is taken by Haruki Murakami in his novel, “The windup bird Chronicle. ” translated from the original Japanese version by Jay Rubin. The main character of the story, Toru Okada is the narrator of the story. The book is an example of second person narrative where the narrator is a part of the story. The narrator moves from his lonely mundane life to his days of introspection when he goes searching for his missing cat and walks us through his journey of self-discovery. The reader is as much part of the story as the narrator because both are not aware of what to expect and what is going to happen next. There is a high sense of the unknown here; the mixed thoughts and descriptions are able to form the main area of tension with the author while creating a specific approach to understanding the text in building the identity and story. For instance, there is a part where Toru, climbs down the empty well to spend some moments of introspection. “ I sat in the dark. Far above me, like a sign of something, floated the perfect half moon/ - my memories began to take on a power that had never had before “ (Murakami, 2003, p.222). This excerpt shows the main approach with the outside environment of the character as he slows begins his journey past the world of imagination to self-discovery. This observation is narrated as being made from the depth of the well and a direct link to the identity, emotions and thoughts of the character. This forms the story telling approach and allows both to create a way of telling the story that links the external environment to the narration. As similar approach can be seen as being made by Simpson in “Touching the Void.” The piece is a work of non-fiction but can be related to the piece above as it is also in the second person narrative. Simpson is part of the real life incident that he narrates. The voice of Simpson describes the situation he is in with his absentee companion. He states, “Squatting under the lee of the huge overhanging boulder that had become our kitchen, I relished this moment when I could be entirely alone” (15). Simpson here is in the same mood as Toru in the fictional work. He is able to give us a sense of the situation he is in while also creating a scene, which he is observing from his vantage point. This vantage point, although different from Toru’s can be compared from the point of view of isolation from the world. The identity of the narrator becomes one that is set against the scenery, specifically with the descriptions of the area that are associated with this. The fear of the unknown is equally created by Simpson, whilst being more real than Toru’s as Simpson’s piece relates to real life experiences, as is characteristic of non-fiction. Toru’s fear of not knowing what lies ahead of him in his quest can be related to Simpson’s fear of unknown natural disasters that lay ahead of him. Narrative Language The concepts of narration are followed by language, which is used in each of the messages and the impact the usage creates on the reader. This becomes an important aspect of the narrative as it exemplifies the particular situations and moods of the narrator at a given point of time. Poetic language, such as the use of symbols, metaphor, allusion and other descriptions become associated with the main narrative language and help form the structure of the story being told and built by the thoughts and observations of the characters. The language is furthered by the creation of parallel observations, which help the reader understand what the narrator is trying to convey. By carrying this particular approach, there is the ability to develop a different level of cognition among the readers while developing more depth to the narration. The use of poetic language is essential not only in driving the plot forward but also in creating a deeper identity by creating associations which relate to the narrator as well as the reader at various levels. (Goodman, O’Halloran, 2006: 49). We see this approach in both Murakami’s fictional work and Simpson’s non-fictional narrative. The usage of poetic language in both gives us an idea of the situation that the main characters are in. Toru is described as the lost soul searching for a meaning in his life and Simpson as one struggling to survive under harsh circumstances. Both are lost in the real sense of the world. The use of personification and simile as poetic elements that drive the narrative forward are furthered with the imagination and the state of mind in Murakami’s approach. “Now I am nothing but a vacant house, an abandoned well. I try to go inside, to change vehicles, to leap from one reality to another that moves at a different speed, and I keep a firm grip on the bat all the while” (Murakami, 2003. P 393). Here the conscious and sub-conscious mind is given a form. The transferring from one state to another is related to changing “vehicles” and the difference in the two realities is compared to the speed of the vehicle. The phrase, “moves at a different speed” gives us a sense of the difference states of the mind. The “bat” is the grip with reality. Simpson leads us through a similar sense of trying to clutch on to a piece of reality. “As the pan of water slowly heated, I looked around at the wide, dry and rock-strewn river bed, the erratic boulder under which I crouched marking the site at a distance in all but the very worst weather” (Simpson, 15). Simpson of course here is describing an actual scene that exists in nature. But his usage of certain words gives us a sense of similar attempts to hold on to reality. He uses words such as “crouching” to further accentuate a sense of despair. The “wide, dry and rock- strewn river bed” adds to the harsh reality. A rock-strewn riverbed is far from the reality of rivers, as the reader knows it. In this aspect there is a sense of reading a fictional piece because the reader is far removed from the scene and is not able to relate to Simpson’s description of the river in a Universal sense. The “erratic boulder” is a personification of the unexpected events in his life. It also develops specific interpretations of the narrator’s point of view. It can be seen from this that Simpson, the narrator is not happy with the situation and sees the natural elements as dangerous and out of proportion because of the suffering he is in. Simpson in this excerpt uses imagery similar to Murakami where he uses boulders as markers. The boulder is Simpson’s reality in an impossible expanse of nature. A specific tension is created in describing the situation and the expected outcome of death. Simpson’s helplessness can be equated to Toru Okada’s fight with consciousness and self-expression. The haunt of death in Simpson’s case is equated to the death of Toru, his removal from the conscious world. We see various examples of similar personifications and similes throughout both the narratives. Defining Plot and Character Another aspect which links directly to the narrative is based on the plot and character. This comes from the perspective of the narrator describing the story, specifically with associations to the descriptions taken from the first person point of view. The use of spoken narrative, embedded with conversational stories and memories combine narrative with the plot and character. The responsibility of the narrator in such cases is take the reader through his experiences and help the reader develop a deeper meaning to the plot and thereby drive the overall plot forward. This approach applies even to the development of the characters. The character of the narrator is described by giving a specific perception about the plot and the situation. This is combined with the narrator developing an approach to the plot through a specific perception. The reader is only able to see and identify with the main words and approach of the narrator, combined with the personal and emotional responses that are developed through the narrator. This combination of tactics used then helps develops an overall sense of what is occurring in the story. (Maybin, Swann, 2006: 19). Murakami takes a similar approach, although his narrative has many characters and is intermingled with first person narrative by other people within the story as told by Toru Okada. Right at the beginning of the story itself we get a sense of the character of Okada, and his current unemployed status right at the start of the story itself. It is well explained by the actions of Okada who s cooking and reluctant to pick up a phone call while listening to the strains of his favorite composer. He reveals that he is unemployed because he thinks it is a sales call. Within the first 5 pages of the story, we get to understand Okada’s character, his wife Kumiko and the mysterious caller who makes many appearances throughout the story. The plot and character in Simpson’s work is defined by the description of real life experiences, which form the main concept. We get the sense of Simpson as being alone at the time of the narrative. We also get a sense of the different characters of his co-climbers who were not able to make it to the summit. Unlike Simpson’s direct reference to the lack of another character at that time in the story, Murakami weaves many characters into the story and they are all connected to Toru either directly or indirectly in his imagination, or by acquaintance. The last line of the book, “In a place far away from anyone or anywhere, I drifted off for a moment” (Murakami, 2003. P.603). The ‘moment’ is when he was talking about is that moment when the story goes back to how it started or rather Toru’s life goes back to his wait for Kumiko. By the time we reach the end of the book, we start to wonder if the rest of the characters were just projections of himself. This can be related to Simpson’s even though it’s a more realistic sense of aloneness when he states “There was no sign of Richard stirring as I passed his tiny one – man tent, half collapsed and whitened with hoar frost” (Simpson, 15). We get a sense of Simpson’s isolation along with a reference to the state of the tent. This helps the reader imagine the state of the other climber and also assume what could have transpired. From this part of Simpson’s narrative we can assume that he was not alone when he started out. We also get a sense of Simpson being more resourceful and strong and one who was able to achieve what others could not. The text and language does not directly state this event but rather works with a perspective view of describing the scenario to help the reader understand the state of the other players in the event. Building Theme in Narrative The use of narrative in telling a story creates a sense of empathy in the reader. Giving the reader insight into personal experiences and expectations of a situation creates this empathy. The narrative becomes important in this particular aspect because it is able to able to convey a specific message to the reader as well as evoke an emotional and personal response to the situation and the story being told. The narrative and the techniques used are able to create a personal interaction with the reader, specifically so the theme is developed at a different level of consciousness. This becomes important in the overall description and movement of the story while being told from the specific perspective and viewpoint of the narrator who is also part of the experience. It is the literary techniques used to express this perspective that develop the theme and elucidates a specific response from the reader. (Cohn, 1978: 2). Simpson’s narrative is important in understanding the gravity of the situation that he is in, whilst giving a sense of other characters within the story by virtue of flashback. Murakami however plays around with many different kinds of characterizations most of whom are in the present. Murakami gives characterization even to inanimate objects. The house, the well, the wind up bird and the black mark on Toru’s cheek in the later part of the novel are all vital characterizations in the movement of the story. They all seem to have a life of their own. The one aspect that both authors have in common is the personal perspective, which is continuously noted by both characters. Both pieces of narratives are looking at the surrounding environment with the approach to describing the situation, other characters and the expectations, which they hold. However, this leads into deeper meanings and character development that helps to format the theme and material. The deeper meaning in Simpson’s is the foreboding mountain itself and the impending fears of freezing to death or not being able to achieve specific goals. Therefore the narrative approach here is into understanding the overcoming of that fear and combating the mountain with determination and courage, specifically with the goal of surviving the ordeal. In Murakami’s work, the theme relies completely on self-realization, the constant travel from the past to the present, the conscious to the subconscious mind. The approach used by both narratives take the reader further into a discourse that is associated with the plot line. These are crafted to mix with the main discourse of both plot lines, one being fictional and other real life experiences. The importance relies on the perspective of the narrator, specifically with the ability to reach the reader at a personal level. The discourse, language and the other elements combine to make it an interesting experience for the reader and an ability to connect to the narrator at various levels. The discourse is based on describing the character and the perspectives of the character toward the outside elements. Character development of the narrator becomes the most important element in both narratives, specifically because it creates a deeper association and meaning of what is being expressed during the main discourse. Without this particular aspect, there is the inability to define the theme, viewpoints and state of mind of the character. (Steen, 1999: 31). The discourse which is created is furthered by the overall style of the narrative and the voice which it creates. Specifically, there is the use of mind style that is a part of both narratives. Mind style is a common approach to narrative fiction, specifically because of the perspective taken in describing the specific associations with the fiction. The mind style uses the “I” of the narrator while developing specific relationships to the reader. In both Simpson’s and Murakami’s work, the use of second person narrative as a character within the story who appears in parts like a character watching the story from the outside. This aspect creates a personal relationship with the reader and carries the reader along with them to experience and relate to the experiences. Simpson’s approach is closer towards narrative fiction even though he is relating his real life experience. The point of view, which is created, is then able to create and develop a different alternative to the characters being able to convey the main theme and points that are associated with the narrative (Culpeper, 1998: 95). Conclusion The concepts that are associated with narrative fiction combine with a variety of crafts that are furthered with the theme of the book. In this article we examined two different styles of narratives and able to unify them basic narrative rules. Murakami is a master storyteller who is able to weave a story around mundane daily experiences of his character, which give a sense of non-fiction rather than fiction, as it is description of incidents that most readers can relate to when viewed within similar cultural and social realms. The discourse in Simpson’s narrative is cleverly crafted that it almost seems fictional and fantasy like to the reader. This is a victory for narrative non-fiction, as it does not isolate itself from creativity. Therefore we see that use of poetic language, narrative styles and the art of story telling are not limited only to fiction. The rules of narrative fiction apply equally to non-fiction. The quality of a piece of work is determined by how it is expressed by the writer in terms of building of the plot, the clever use of descriptive elements and eventually how the reader is able to relate to it. Both narratives have successfully utilized all these elements. 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