Style and Technique
Greene’s narrator is selectively omniscient. Although the reader is made aware of the internal doubts and anxieties of Blackie, the deposed leader, the inner workings of T’s troubled mind remain closed. The narrator is also decidedly neutral and uncensorious in the general treatment of this focal character. To proponents of the tradition represented by the objects T. destroys, this child seems the very essence of evil. Greene, however, offers nothing to suggest anything other than a mysterious amorality that is cold, implacable, and generally inexplicable, although he piques curiosity with oblique references to T’s background and mental state. When Old Misery suddenly returns home and threatens the enterprise, T. protests this unforeseen complication “with the fury of the child he had never been.” Earlier, T., who generally looks down when he speaks, proposes the destruction of the house to the incredulous boys with “raised eyes, as grey and disturbed as the drab August day.”
Prior to T’s membership in the gang, its members’ preoccupation was with adolescent mischief, such as stealing free rides on public transportation. T., however, is decidedly unchildlike and becomes the instrument that destroys not only the house but the group’s collective innocence. The pleasures of their previous childhood preoccupations are forever lost to them. T. has taken them abruptly from innocence to experience, summarily depriving them of a gradual but essential learning process. In this regard, T’s actions are presented as more the product of fate than malevolence.
The economy of description in character development is characteristic of Greene’s writing. Extensive graphic detail and character background are all but nonexistent, but there is enough to make the reader more than willing to supply the missing dimension.
The Modernist Period in English literature began in 1914 with the onset of World War I and extended through 1965. It is a literary period that reflects the nation’s wartime experiences (World War I and World War II), the emerging British talent of the 1920s, and the economic depression of the 1930s. Toward the end of the period, literature and art demonstrate the nation’s growing uncertainty, which became especially pronounced after World War II; this uncertainty would give way to hostility and protest in the postmodernist period.
During the early years of the modernist period, the foremost fiction writers were E. M. Forster Joseph Conrad Ford Madox Ford Virginia Woolf and Somerset Maugham. One of the major accomplishments of this period was the publication of James Joyce’s Ulysses, a work that continues to be respected as a masterpiece of twentieth-century literature. In the 1920s and 1930s, the novels of D. H. Lawrence and Evelyn Waugh were harshly critical of modern society, expressing an attitude shared by many English men and women of the day. In the 1930s and 1940s, novelists such as Greene wrote traditional fiction that was well-crafted enough both to stand up to innovative fiction of the day and to gain a wide and loyal audience.
Many writers of this period (Greene included) were born at the turn of the century, near the end of the Victorian Age. These writers were reared in an environment of romanticism, which often meant leading a relatively sheltered childhood that left them ill-prepared for the realities of adult life. This background, combined with events of the first half of the twentieth century, led writers such as Greene to question the values of their past and to reevaluate the world in which they lived as adults. This reevaluation is seen in Greene’s fiction as he explores morality and creates characters who possess the capacity for both good and evil.
During the 1950s in England, the reality of organized groups of teenagers set on being disruptive and disrespectful caused public concern. Known as teddy boys, these groups of boys banded together in the name of delinquency and...
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