Ticking Mind - Atonement - Study Notes

Atonement - Study Notes

Overview

There is no disguise about the primary theme of Atonement - it’s there for us to see in bold in the
title. This is a novel about guilt and forgiveness. But it’s a tricky thing this process of atonement
(“But what was guilt these days,” Robbie asks at one point. “It was cheap. Everyone was guilty, and
no one”) - and this novel looks at what creates the context for guilt in the first place, how do we
share this guilt and how do we atone for it?

The novel might best be described as meta-textual: it is a book, above all, about the act of writing
and representation. This, essentially, is the process of atonement that Briony must go through - to
both represent what happened and how it happened, but moreover to reflect critically throughout on
the process of this representation. Texts are everywhere in Atonement - from the quote from
Northanger Abbey (Austen’s famous satire of the gothic novel in which a young women mistakenly
believes a crime has happened) at the beginning; the melodramatic Trials of Arabella in the first
section of the novel, the plot of which (a princess “judiciously” marries a “medical prince”) reflects
on the relationship of Robbie and Cecilia; Robbie’s first letter to Cecilia which reveals his true
feelings; his beloved Housman (a poet whose most famous collection of poems, A Shropshire Lad,
follows the themes of death and mortality for youth in rural England - a theme which Robbie and
Cecilia come to live out); through to Briony’s very own consciously fictionalised account of what
happened between her, Robbie and Cecilia.

To begin with in the novel, we assume the narrator is an omniscient, anonymous and objective third
person - untied to the events. The trick of the novel is that it is really a first person account, passed
off as a third person narrative. It is always Briony’s reflection on what happened. At the end of the
first section of the novel, we have come to judge her harshly. After all, the narrator has so diligently
portrayed for us her list of flaws - her insensitivity to the twins, her nosiness, her petulance, her
“crime” - “the busy, priggish, conceited little girl,” as Briony labels her 12 year old self at the end of
the book. It’s only here, at the end of the novel, when the narration switches to first person, that we
realise it is indeed Briony who is the narrator. The fact that we as readers have judged her so
harshly as her younger self is entirely the result of the way her narration has positioned us as
readers to judge her. Her narration - her constant ascribing of blame to herself - is the act of
atonement. But her atonement goes further than mere self blame - this isn’t just an account of all her
wrong-doings, it’s a rectification of them. The truth of what happened to Robbie and Cecilia is that
they died (like the tragic youths of Housman’s poetry) - Robbie from septicemia, Cecilia from a
bomb. But, Briony asks us at the end:

How could that be an ending? What sense or hope or satisfaction could a reader draw from such an
account? Who would want to believe that they never met again, never fulfilled their love? Who would want to
believe that, except in the service of the bleakest realism?

No, Briony can change events, she can let the lovers “survive to love.” In this, she acknowledges,
she is like “God.” She claims that there is “No atonement for God,” no higher force that can give her
forgiveness. But here she is wrong - the entity that she can “appeal” to here is the reader. In giving
Robbie and Cecilia life at the end of the novel, it is we as readers who forgive Briony.

Ticking Mind - Atonement - Study 1

 Ticking Mind - Atonement - Study Notes

Setting
The physical landscape is a dominant source of imagery and reflective commentary on the
characters throughout Atonement. McEwen acknowledges how deliberately constructed this is as a
device. When Briony receives feedback from a journal about her submission of her manuscript Two
Figures by a Fountain, the editor says “you dedicate scores of pages to the quality of light and
shade.” While “scores” might not be true of McEwen’s novel, his representation of light is a
constant. In every major scene the light is described, telling us about the certainties, the anxieties or
the confusion of the characters. It’s a subtler way of exploring the inner emotional lives than the
obvious physical images of the “woods in winter” and the “grimness of a castle wall” which is the
only way Briony knows how to create atmosphere in her stories as a 13 year old. For Robbie, both
nervous but thrilled about the prospect of seeing Cecelia on his trip to the Tallis’ house after he has
realised her has sent the wrong note to her, the air is “saturated,” the dusk “fading, reddish.” On the
same trip the light becomes “soft yellow” and makes the house “seem almost grand and beautiful.”
Light can also be “blinding” - as it is for the young and insensitive Briony when she first meets the
Quincey’s and thrusts the play upon them. Later, as an 18 year old trainee nurse, with a greater sense
of self knowledge and understanding, the light is “electric” and brings things into “brighter” and
“sharper focus.” If light brings with it knowledge, darkness is symbolic of what cannot be fully
understood. Briony witnesses the love making of Robbie and Cecilia in the “gloom” and later in the
evening, on the search for the missing twins, comes across Marshall assaulting Lola. But she sees
the dark as no impediment (like her mother Emily who “lay in the dark and knew everything”) -
“darkness was nothing - it was not a substance, it was not a presence, it was no more than an
absence of light.” Indeed in the darkness things can “shimmer” - there was nothing Briony “could
not describe.”

The social context is also an important setting in this novel. Of course class is part of this. There is
the clash between the upper class Tallises (i.e people with money) and the Turners (people with no
money). Robbie himself has his “scientific theories” about class, and, conscious of his own, he
believes the Tallises withdrew into their upper rank when he was accused of the assault. The irony is
that he believes the person who actually did assault Lola - was a person of a “lower” rank them him
- Danny Hardman. He’s in disbelief when Briony says it was in fact Paul Marshall - “I can’t imagine
him with Lola Quincey - even for the five minutes it took.”

Yet class is probably less important in this text as a social setting, than the ‘in between-ness’ the
characters experience. When we meet the characters in the first part of the novel, they are in a flux:
Robbie has come down from Cambridge and must consider what to do next, as has Cecilia. Briony
is on the cusp of being a teenager, Lola on the edge of being an adult, Emily in between ‘having’ her
husband Jack when they were younger, and ‘getting’ him back when he tires of his mistress and
ages. This in betweenness creates an atmosphere of anxiety but desire for certainty - a need for
control. Each of the characters in their own way tries to exert this control. This sense of in
betweenness at a character level is emphasized by the bigger social uncertainty - will war break out?

Ticking Mind - Atonement - Study 2

 Ticking Mind - Atonement - Study Notes

Characters
Briony:

There are three stages to Briony’s life in the novel. Briony pretending to be an adult, Briony
becoming an adult, and Briony at the end of life as an adult:

Briony pretending to be an adult -

Early on in the novel a marked distinction is drawn between Briony and her mother and sister.
Briony’s room is a place of order - a “shrine to her controlling demon.” The order she imposes on
her room is symptomatic of her need for order as a character. For Briony, writing is an act of
creating order - “A world could be made in five pages and one that was more pleasing than a model
farm.” Certainly her first foray into play writing, The Trials of Arabella - is about creating moral
and social order. In this play, a princess, after an affair with an entirely immoral person, ends up
with the right man. The initial conflict for Briony in this novel, is the challenge that forces of
disorder pose to the childlike ease she has had in making sense of everything. First this happens in
the rehearsals of the play:

The rehearsals also offended her sense of order. The self-contained world she had drawn with clear and perfect
lines had been defaced with the scribble of other minds, other needs: and time itself; so easily sectioned on a
spaper into acts and scenes, was even now dribbling uncontrollably away.

After this, it’s the actions of the adult world that confuse her. When she witnesses the scene between
Robber and Cecilia next to the fountain:

The scene was illogical - the drowning scene, followed by a rescue, should have preceded the marriage
proposal.

Briony’s reaction to these invading forces of disorder, is to try to re-exert order. But not as a child -
as an adult. Having become petulant about the rehearsals, and given up on them, Briony escapes to
the island at the front of the mansion, where she flays nettles, pretending they’re Lola and the twins.
Finally, it “was childhood she set about” flaying. She must assume adult significance (“Her
childhood at ended, she decided” - as she searches for the twins) - adult knowledge. When she
comes to witness the assault on Lola, it’s important to understand, as she herself later notes, that she
did not lie: “She hadn’t intended to mislead, she hadn’t acted out of malice.” She did not “see”
Robbie - “less like seeing, more like knowing.” And it is an adult “knowing,” because, suddenly, all
the confusions of the day, all the things she couldn’t understand as a child, were clear and could be
controlled - “Everything connected. It was her discovery. It was her story, the one that was writing
itself around her.”

Briony becoming an adult -

When we see Briony again, in the third part of the novel, this adult certainty has been removed. As a
trainee nurse, she has assumed again the status of a child:

Briony had thought she was joining the war effort. In fact, she had narrowed her life to a relationship with a
woman fifteen years older who assumed a power over her greater than that of a mother over an infant... This
narrowing, which was above all a stripping away of identity...

Ticking Mind - Atonement - Study 3

 Ticking Mind - Atonement - Study Notes

Part of her journey of atonement is for Briony to strip away the edifice of adulthood that she had
created as her thirteen year old self. As a nurse, she learns to become an independent adult.

Briony at the end of adulthood -

It’s not death the nears for Briony at the end of the novel, but dementia - a state that promises to
take her back to the childish confusion of the first part of the novel her character was so keen to
conquer. She tries to convince herself that she “wasn’t distressed” about the onset of dementia. But
the nearness of this condition - the disorder that it promises - makes it imperative to take stock of
her life now and think about her legacy of atonement as a writer. “Lovers and their happy ends
have been on my mind all night,” she narrates at the very end of the novel, “as into the sunset we
sail. An unhappy inversion. It occurs to me that I have not travelled so very far after all, since I
wrote my little play.” Her completion of her last novel - with its fictional happy ending for Robbie
and Cecilia, is her final act of atonement and order as an adult.

Robbie:

Absence is such a part of so many of the characters in Atonement. Robbie’s absence is his father and
then, later, his separation from Cecilia. His father, Ernest, left when he was six - no note, no
explanation. This was Robbie’s first introduction to the chaos of fate. Despite this, he imagines
himself in the future as a doctor who “would be alive to the monstrous patterns of fate, and to the
vain and comic denial of the inevitable.” A key difference between Robbie and Briony, is that
whereas Briony knows the order in her life has been disrupted and seeks to impose order again,
Robbie thinks he is in control. Though he imagines himself “alive to the monstrous patterns of fate,”
he really perceives himself as immune to them. Not only immune to them - the conqueror of them:
“There was a story he was plotting with himself as the hero.” In his imagination he sees himself as a
cinematic hero - Cecilia “pounded against his lapels before yielding with a little sob to the safe
enclosure of his arms.” In this vision, he is commander of his fate. As he walks to the Tallises on the
eve of his arrest, he feels in full control: “One word contained everything he felt, and explained why
he was to dwell on this moment later. Freedom. In his life as in his limbs.” Unlike the doomed
youths of the poems of Housman he so admires, Robbie sees himself as living a long and youthful
life:

There were men at Cambridge who were mentally agile as teachers, and still played a decent game of tennis,
still rowed, who were twenty years older than him. Twenty years at least in which to unfold his story at roughly
this level of physical well being...

Robbie is a hero - but not the kind who “succeed” (as he is “certain” he will). He is hero of the tragic
nature. For Robbie is not immune, but in fact victim, to the “monstrous patterns of fate.” Like
Oedipus (the tragic hero that Freud - the psychoanalyst Robbie admires and analyses his life with -
bases his most famous theory on), Robbie initially seems to benefit from the accidents of fate. When
he mistakenly gives Briony the wrong letter - it brings he and Cecilia together. When he goes to the
house and meets her, she takes him to the library and “there was only one inevitable end, and there
was nothing they could do but go toward it.” For Oedipus, his initial benefit from fate turned out to
be the making of a disastrous tragedy. So it is for Robbie - the letter not only impresses on Briony’s
imagination that he is a “maniac,” and leads her to “know” that Lola’s assailant was him - the fact
that it brought he and Cecilia together only heightens the tragedy.

Tragic heroes are punished - forced into exile. We follow Robbie’s exile as he retreats in the face of
the Nazis in France. That he is a victim of fate is emphasized in this section. In the retreat, he is

Ticking Mind - Atonement - Study 4

 Ticking Mind - Atonement - Study Notes

accompanied by two privates - Mace and Nettle: their names symbolic of the punishment being
meted out to Robbie (Mace is a medieval weapon, the nettle is the stinging plant that Briony
thrashed when her play turned into disarray). He is wounded - a piece of shrapnel unluckily burying
itself inside him when a bomb exploded near him. Throughout the retreat, the shrapnel - which we
know is slowly killing him from within, is representative of the fate he cannot control. Here he
understands that:

He used to revel in his freedom to make his own life, devise his own story with only the distant help of Jack
Tallis. Now he understood how conceited a delusion this was.

Cecilia:

Like Robbie, Cecilia has finished university and must now consider what her next step is. Unlike
Robbie, Cecilia has no notion of certainty around her future. Robbie sought to separate himself
from the Tallises to find his “freedom,” to go on an “adventure” and to write himself as the “hero” in
his own story. But Cecilia is conflicted - she is drawn to both ideals of nature and order. The
flowers she puts in the vase on the morning before Briony’s “crime” become a potent symbol of her
attraction to the wildness of nature: “she couldn’t resist moving them around, and not everything
people did could be in a correct, logical order...” In fact, the struggle that Cecilia and Robbie have
over the vase, when the break it, is rooted in these conflicting ideals of nature and order. Robbie
wants Cecilia to remove the flowers and to dunk the vase into the water himself (“a command on
which he tried to confer urgent masculine authority”); Cecilia wants to dunk both the flowers and
vase into the water (“she had not time, and certainly no inclination, to explain that plunging both
vase and flowers into the water would help with the natural look she wanted in the arrangement.”)
This conflict between order and nature is evidence elsewhere in Cecilia’s life. She knows she should
be excited about being able to leave - about being able to embark on the adventure of being an
independent adult. She has money enough, and places to stay, yet she doesn’t go: “No one was
holding Cecilia back, no one would care particularly if she left. It wasn’t torpor that kept her - she
was often restless to the point of irritability. She simply liked to feel that she was prevented from
leaving, that she was needed.”

If Housman and Freud - authors Robbie likes - tell us about his character, Cecilia’s reading also tells
us about hers. She is reading the novel Clarissa - a “tragic story of a heroine whose quest for virtue
is continually thwarted by her family.” Themes of the novel include sex and morality and the plot
includes a rape. “I wish she’d get on with it,” Cecilia says about the heroine of Clarissa - a comment
which is also true of herself. Like Clarissa, Cecilia becomes the victim of her family - of the
meddling of her sister, the ineptitude of her mother, the absence of her father, and the way their
social class conspires against Robbie. Unable to choose for herself, Cecilia’s tragedy is to have fate
choose for her.

Themes
Order:

“Order must be imposed,” Briony thinks to herself in her room moments after reading Robbie’s
letter to Cecilia. Everywhere this theme of order is evident, from the family’s heritage - “Cecilia’s
grandfather, who grew up over an ironmonger’s shop and made the family fortune with a series of
patents on padlocks, bolts, latches and hasps, had imposed on the new house his taste for all things
solid, secure and functional”; Briony’s incessant need for order - “the rehearsals offended her sense
of order, ” “something irreducibly male... threatened the order of the household,” and “what squalor

Ticking Mind - Atonement - Study 5

 Ticking Mind - Atonement - Study Notes

and disorder her sister lived in”; Emily’s like-natured need to “refine and order” her plans for the
household; the order that Jack represents (and the disorder in his absence) - “his presence imposed
order”; and finally the disarray of the army’s retreat in France, but Robbie’s belief that “order would
prevail.” This need for order is fundamental to us as humans. For Briony, her journey is always
about “order must be imposed.” As an adult, when she realises the mistakes of her younger self, she
must impose order again - she must make things right.

Absence:

Absences mark many of the characters in the novel. There is the absence of Robbie’s father, the
absence of Jack Tallis, the absence of both the parents of the Quinceys, the absence of the twins
when they run away, the absence of both Cecilia and Briony from their family later in the novel,
and the absence of Robbie and Cecilia from each other. Then there are the abstract absences - the
absence of sense, of order, of meaning. Connected to this idea of absence, is the idea of ‘in
betweenness’ (discussed above in the overview), and of being on the periphery. Characters regularly
seem not to be involved in events - but on the edge of them, such as when Briony says: “she saw
from the corner of her eye a light flash on and off,” or when Cecilia “hovered on the peripheries” or
“all day long, she realized, she had been feeling strange, and seeing strangely, as though everything
were already long in the past.” These peripheral experiences highlight how characters aren’t the
authors of their own events and fate, but rather are swept up and propelled by them. What is absent
is a connection - an ability to control. This is most emphatic in the experiences of Robbie in France.
Retreating with the army, he is dying from his shrapnel wound - his connection with his physical
self, his reason, becoming more absent: “in the lucid freedom of his dream state, Turner intended to
shoot the office through the chest....He reached for it, but his gun had gone...” And then finally, in a
delusional state from his septicemia: “I’ll wait for you...He tried to make her voice say the words,
but it was his own he heard...” It’s this delusion that finally frees Robbie from the weight of his
bitterness. It’s the distance of years, the absence of Robbie and Cecilia, and the knowledge that she
will soon be on the peripheries of memory, that allow Briony to write what she does in the end.

Quotes

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Ticking Mind - Atonement - Study 6

 Ticking Mind - Atonement - Study Notes
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Ticking Mind - Atonement - Study 7

 Ticking Mind - Atonement - Study Notes

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Ticking Mind - Atonement - Study 8
 Ticking Mind - Atonement - Study Notes
",1"#,@, 1), /6$5,"0 /"$. 1), )*%-<*0#%2 E),% 0), -"$BB,- 1),. #% 1),& $%(, *+*#%
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Ticking Mind - Atonement - Study 9

 Ticking Mind - Atonement - Study Notes

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Ticking Mind - Atonement - Study 1

 Ticking Mind - Atonement - Study Notes

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Ticking Mind - Atonement - Study 1

 Ticking Mind - Atonement - Study Notes

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Ticking Mind - Atonement - Study 1
 Ticking Mind - Atonement - Study Notes

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Ticking Mind - Atonement - Study 1
 Ticking Mind - Atonement - Study Notes

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Ticking Mind - Atonement - Study 1

 Ticking Mind - Atonement - Study Notes

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Ticking Mind - Atonement - Study 1

 Ticking Mind - Atonement - Study Notes

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Ticking Mind - Atonement - Study 1
 Ticking Mind - Atonement - Study Notes

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Ticking Mind - Atonement - Study 1

 Ticking Mind - Atonement - Study Notes
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Ticking Mind - Atonement - Study 1

 Ticking Mind - Atonement - Study Notes

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Ticking Mind - Atonement - Study 1

 Ticking Mind - Atonement - Study Notes

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Ticking Mind - Atonement - Study 2
 Ticking Mind - Atonement - Study Notes

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9#&,'7>2 K-8 ', 8&% "&AA#7'7> &, .&%,) &7( ', 8&% &% 'F %"# 8&%7C, E:',# "#=#2 !"#
8&% 8&,1"'7> F=-? F&= &8&5 &7( %"# 8&% 7:?92 D:, %"# /7#8 "'% 8-=(% 8-:.( ":=, p. 247

+,,+(-43*( 93*+&#(" $5 +(" 9$%$+&4< *+<%"/ :" 1&* *+&4+%$56%< (&5)*,9"; &5) +("4"
#&9" -&#. +, ("4 =4,9 <"&4* &6,; 1("5 *(" 1&* +"5 ,4 "%"@"5; +(" 9"9,4<
,= &
2&**$,5 *("8) (&) =,4 ($9; & 4"&% #43*( +(&+ (&) %&*+") )&<*/ H("5 *(" #,5="**") $+ +,
($9 ,5" 9,45$56 $5 +(" 6&4)"5 &5) $99")$&+"%< =,46,+ &-,3+ $+/ p. 248

Ticking Mind - Atonement - Study 2