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Some Narratological Moves and Their Effect in End of Alice

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  1. Introduction
  2. Chappy's projections about the Correspondent
    1. What is real and what is not real
    2. The Correspondent narrative ENP
    3. Another subnarrative about the Correspondent
  3. The Correspondent ENP and the girl's home life
  4. The Correspondent's childhood sexual relations with a boy
  5. The Correspondent and her boy
    1. The invitation for dinner
    2. Going from a verbal to a physical relationship
  6. Conclusion

Let it be known that in End of Alice there is no ANP, only an ENP, and the ENP is the time during which Chappy is imprisoned. The ?prison? time moves forward steadily and occasionally will jump backward in an analepsis to, roughly, two points in the narrator's past. The first analeptic point is that of Chappy as a young boy. The second analeptic point is that of Chappy preprison, at about 30 years old. Both of these times move slightly forward in themselves. The ENP ?prison? time does not seem to cast backward homodiegetically?that is, we never are taken into a scene in which Chappy is a prison newcomer. He does describe such a time, but we are never taken there narratively.

[...] ?Stop.' She puts her hand on my shoulder and tries to push me away.? At the end of this paragraph an ellipsis occurs. We are accelerated from the bath to a repeat scene, described earlier on page 152, in which a young Chappy sees Mama's menstrual blood on the sheets. The scene comes after the bath scene chronologically. Ellipsis. I get the feeling that Genette's terms do not precisely apply to this novel because Chappy's achronic movements are mostly faux movements. [...]


[...] But quickly Chappy seems to move into the realm of speculation: ?Slowly, steadily, he fell in love, never losing the fear that she would turn on him, direct her anger at the five inches of difference between them.? This is a detail he cannot know, and since Chappy employed the fuzziness of the voice just prior for details he cannot fully know, why does he not do so again in describing the boy's fear of castration? Chappy offers an explanatory sentence for the reader: ?though there is no way he could have told me this, I swear it is true, remembering it from my own experience.? Chappy is so certain that he does not need to employ the in this case. [...]


[...] Here the intention also is to suspend the scene the slightest bit (Chappy's words remind us he's sitting in prison ENP) for the reader because the form then parallels the feeling that the boy and Correspondent must be experiencing?that of indeterminate action paired with want, Chappy is experiencing the same feelings mentioned in No want to know and I don't want to and Chappy is creepily suspecting that we readers are titillated as well?his seemingly out-of- place interjection is supposed to reflect the reaction we readers are having. [...]

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