The University of Edinburgh | WK1 FLASHBACKS AND FLASH-FORWARDS

So let's now focus in on some of those strategies that authors use to interrupt or complicate the smooth

organisation of time in their novels.

The first of these is something called flashback, whereby we're told about something that happened before the

novel's present time. Flashbacks are something we all experience. Really they are just memories, often triggered

by something as innocuous as a smell, a sound, or maybe an old photograph.

These memories might go back several years, or only a few days. When it comes to novels, flashbacks usually

allow us to gain some information about a character's past that will provide an insight into their motive, to reveal

why he or she might be acting in a certain way at the current time.

To take a famous example, Virginia Woolf's 1925 novel, Mrs. Dalloway, which takes place over a single day in
London in June 1923, opens onto a flashback, as the title character's memory is jolted by the thought of some

squeaking doors - there is work going on in the house - which reminds her of a similar sound from her youth.

This leads to a cascade of memories from over 30 years ago, when she was aged 18 years old on her father's
estate, and had the feeling that something awful might be about to happen. The middle-aged, present time
Clarissa Dalloway has some errands to run on this particular morning. She is hosting an important party that

evening. But memories from her past continue to interrupt her thoughts as she goes about her business.

These flashbacks have a specific purpose because, although the action of the novel takes place over one day in
June, they enable the reader to learn more about Clarissa's girlhood and youth. What events have led her up to

this point, made her into the type of woman she now is - a member of high society, married to a politician,
thoroughly respectable? Because she wasn't always like this. In another flashback, just a few pages later, she
recalls a quarrel years back with her former lover, Peter Walsh, when he had made her cry at the future he
predicted for her.

"For they might be parted for hundreds of years, she and Peter; she never wrote a letter and his were dry sticks;
but suddenly it would come over her, If he were with me now what would he say? - some days, some sights
bringing him back to her calmly, without the old bitterness; which perhaps was the reward of having cared for

people; they came back in the middle of St. James's Park on a fine morning - indeed they did. But Peter - however
beautiful the day might be, and the trees and the grass, and the little girl in pink - Peter never saw a thing of all
that. He would put on his spectacles, if she told him to; he would look. It was the state of the world that interested
him; Wagner, Pope's poetry, people's characters eternally, and the defects of her own soul. How he scolded her!
How they argued! She would marry a Prime Minister and stand at the top of a staircase; the perfect hostess he
called her (she had cried over it in the bedroom), she had the makings of the perfect hostess, he said.

So she would still find herself arguing in St. James's Park, still making out that she had been right - and she had
been too - not to marry him. For in marriage a little licence, a little independence there must be between people
living together day in day out in the same house; which Richard gave her, and she him. (Where was he this

morning, for instance? Some committee, she never asked what.)"

Note in this passage those moments of self-justification, how she defends to herself her decision to marry Richard
rather than Peter. But this is a decision that has, perhaps to her irritation, made her become that perfect hostess
Peter had predicted all those years ago. She recalls with extraordinary vividness the fierce arguments the two of

them used to have. But there's a sense also that turning him down still bothers her. She needs to remind herself
that this was the right thing to do, that Richard was the correct choice and not one to be regretted.

But we also get a feel for the type of young woman Clarissa was and perhaps still is. Her fierce personal urgency

is registered with those exclamatory phrases. "How he scolded her! How they argued!" and then, in that final
paragraph, the narrative returns to the present, with the reader having journeyed with Clarissa back into the past,
now better informed about what makes her tick.

The opposite side of this coin is of course the flash-forward, otherwise known as the prolepsis. Whereby we will
jump ahead to something that happens years later in the life of a character. For obvious reasons, this isn't
something we can relate to in real life, unless it's in the form of something like a premonition, as it hasn't taken

place yet. But in the context of a novel, we as readers are learning something out of sequence, being given too
much information for that stage of the plot.

A famous example of this is Charles Dickens's A Christmas Carol. There, Ebenezer Scrooge is transported into his
own future as it currently stands, and this serves as a warning for him to alter his present behaviour, and by
extension change his own future for the better while he still has the chance.

But other novelists don't allow their characters this opportunity to alter their futures. In Muriel Spark's The Prime of
Miss Jean Brodie, set in 1930s Edinburgh, we are offered a series of brief flash-forwards outlining the fates of the

schoolgirls Miss Brodie teaches. But the effect of this is to remind the reader that the girls' futures are already set

characters.
in stone, and that the novelist retains godlike control over her charcters.