Style and Technique
In James Joyce’s short story “Araby,” a work with which Munro is familiar, the young narrator moves effortlessly between his real and imagined worlds, often not distinguishing between the two. In a crucial scene relating a conversation between the narrator and the girl he loves, Joyce uses deliberate ambiguity to allow the reader to feel the intensity of the boy’s imagination. The reader is never categorically sure whether the conversation actually takes place or is fabricated by the highly imaginative youth.
In the crucial scene of her story, Munro also employs the technique of ambiguity to point up, like Joyce, the thin demarcation between fantasy and actuality and to induce the reader to share vicariously in the protagonist’s experience. There are several ambiguous phrases and images. Many sentences overtly suggest that initially it is Rose’s imagination that perceives the tip of the newspaper to be the minister’s hand: “She thought for some time that it was the paper. Then she said to herself, what if it is a hand? That was the kind of thing she could imagine.” Immediately after, she wonders: “What if it really was a hand?” Perhaps the sentence that most emphatically persuades the reader to acknowledge the possibility of ambiguity in Rose’s perception of the seduction is this one: “Her imagination seemed to have created this reality, a reality she was not prepared for at all.”
Rose’s perception of the man’s...
(The entire section is 473 words.)