Ext 2 Literature Review

Short story form enforces restrictions on the author, but in doing so, provides unique opportunities to
augment the aesthetic of a text and the dynamic between the reader and writer.

Daniel Keyes’ 1958 short story ​Flowers for Algernon ​highlights the importance of the narrative voice
in the communication of its story and its constructions, and how this narrative is shared with, and
subsequently interpreted by, the reader. ​Flowers for Algernon ​utilises a first person narrative voice,
with distinct variations in the grammar, spelling, and vocabulary of its protagonist, Charlie Gordon, as
his intelligence rapidly increases, followed by a sudden rapid decrease,​“sumbody told me where I
shud go to lern to read and spell good.” ​Hence, Keyes highlights how the narrative voice in a
short-story context can be utilised as a device to seamlessly develop character and plot. This idea was
implemented into ​Atropos​, with Dylan, the protagonist, speaking directly to the reader in a
demanding, dogmatic tone, developing his character as one that is arrogant and confident in his
situation, and establishing the narrative existential circumstance. The narrative voice in ​Atropos shifts
between, and blurs the line between, first person and second person narration, an idea inspired by
Flowers for Algernon, ​which, through a similar method, shifts and blends differing levels of
intelligence to keep reader engagement, while also subverting their expectations of the narrative voice
and its reliability. Additionally, time is used to create a deliberate disconnect between the reader and
Charlie in ​Flowers for Algernon​- the story is told through “Progress Reports” which span a time
period of 9 months. This inspired a utilisation of time in the narrative of ​Atropos, ​albeit one that
attempts to create a nexus between the reader and narrative voice by founding the dynamic in
temporality controlled by Dylan, “​I can keep you here, in this moment in time, this thought, this pause.
For all you know of me is time.​” This is shown by the different voices Dylan uses, represented by
bolded and unbolded text, the former acting as a pause in time, where he talks to the reader directly,
and the latter being a self-reflexive narration. Shifts in time are represented by blank pages and
ellipses, with Dylan meta-fictionally apologising for the jumps in time, “​I’m going to leave you again
for a little while. Sorry. ​” This temporal nexus aims to point to the complexity within the inherent
power dynamic between reader and character; ​Atropos attempts to avoid standardisation in form by
creating a temporal fluidity, where the reader experiences a gap in time as the character experiences it.
This contributes to ​Atropos’ central concept of the illusion of control, as the reader loses temporal
control of the world in which they are immersed.

Mairi Fulcher writes, in her thesis ​The Short Story: A Non-Definition, ​how it is possible to define “​the
story from the perspective of what it ​does​.” ​Hence, Fulcher argues against aestheticism in literary
theory, deprecating any inherent value of art, and instead suggesting that the value of literature comes
purely in the effect that it has on the reader. This effect, in short story form, possesses a unique
advantage in its communication over other writerly forms; “​since the short story is brief enough to
capture the reader's complete attention for the short time necessary to read it, it is possible to sustain
a high level of attention and response from the reader. ”​ ​Atropos, ​in a sense, relies upon this
reader-narrative dynamic, requiring the reader to have constant active thought and participation in the
story and interiority of Dylan, as they are directly referenced throughout the story. This furthers
Atropos’ c​ ore concept of free will as the reader is positioned in an illusion of choice; their role as a
short story reader forces them towards immersion within its world, although they believe they have
the option to leave.

Charlotte Perkins Gilman’s 1892 short story ​The Yellow Wallpaper d​ escribes the gradual decline of a
woman’s mental state into insanity and her increasing obsession with wallpaper in her room, which
represents this mental state. The story is told through first-person narration, which provides an avenue
for reader engagement with characterisation, while also creating a dynamic of intrigue and
uncertainty, due to the possibility of an unreliable narrator dictating the story, which begins to become
obvious as the narrator describes the wallpaper moving, “​The front pattern does move—and no
wonder! The woman behind shakes it!​”. ​Atropos ​attempts to construct Dylan’s character by
conglomerating the story into his psychology, establishing his character through the way he describes
the events around him, and creating reader engagement and intrigue as to whether these thoughts can
be trusted, “​Bill’s dog died of cancer three years ago. No, wait, Bill died of cancer three years ago.
I’m pretty sure he didn’t even have a dog.​” ​The Yellow Wallpaper r​ elates to ​Atropos’ c​ oncept of free
will-- with the protagonists in both texts experiencing a situation over which they, ultimately, have no
control. Both “Bill’s dog” and the titular “Yellow Wallpaper” create low modal complexity through
high modal form; the uncertainty in both narrative circumstances is, paradoxically, founded upon
seemingly objective and material descriptions. This complexity offers symbolic circumstances, which
serves to develop character and highlight a distinct lack of self control.

Florence Goyet’s book ​The Classic Short Story, 1870 -1925 d​ escribes how “​through a discriminating,
intelligent, and sensitive reflector, we would appreciate to the full all the subtleties and beauties of a
novel’s universe.​” The idea of a ‘reflector’, a narrator that is a character within the story, one that
simply reflects on the situation and world around them, is, in a theoretical sense, paradoxical- the
exteriority required for an omniscient narrator is combined with the interiority of a grounded
character. However, by reshaping the narrative to accommodate for this reflector, Goyet argues that
“​the short story will use either [the narrator or the reflector] to continue to bring the reader and
author together in admiration of the distant spectacle. ​” ​Such an idea is what inspired Dylan’s role
and character in ​Atropos ​as an engineer and hobbyist writer. He possesses the intelligence and
introspective ability to describe both the world around him in intricate detail, and his own internal
thoughts. Acting as this reflector, then, Dylan aims to meta-fictionally converge the narrative
experience of himself and the reader, acknowledging their inherent barrier, but nonetheless, using his
unique role as both character and narrator to show how, in actuality, the reader and character may not
be so different, “​Take your time, if you need to. I’ll be here. But now that we’re on the same page, I
think it’s time we change our fates.​” This offers the reader a perceived choice, as to how much they
wish to engage with the narrative. However, this choice is, ultimately, an illusion, as the only real
option is to continue reading the story. This augments ​Atropos’ ​core concept-- one that stresses the
paradoxical nature of free will and true choice.