However, in the novel it is not really him who committed all those sins, but rather a nameless boy. (Martha: “…In spite of something funny in his past… which Georgie boy here turned into … a novel all about a naughty boy child … who killed his father and mother dead.” (Act 2)) This action (turning reality into a fictional novel) has fear of reality written all over it; George is running from the horrible reality of his past as well as the dismal situation he finds himself in in the present. At the end of Act 2, George even turns the reality of the “chiming” Honey continuously referred to as the news that his son had died, rather than what it really was (a product of Martha and Nick “necking”, thus hurting Georges’ sacred dignity). This version of altering reality ends up being counter-productive, for George’s action ultimately forces himself and Martha to come to terms with
However, in the novel it is not really him who committed all those sins, but rather a nameless boy. (Martha: “…In spite of something funny in his past… which Georgie boy here turned into … a novel all about a naughty boy child … who killed his father and mother dead.” (Act 2)) This action (turning reality into a fictional novel) has fear of reality written all over it; George is running from the horrible reality of his past as well as the dismal situation he finds himself in in the present. At the end of Act 2, George even turns the reality of the “chiming” Honey continuously referred to as the news that his son had died, rather than what it really was (a product of Martha and Nick “necking”, thus hurting Georges’ sacred dignity). This version of altering reality ends up being counter-productive, for George’s action ultimately forces himself and Martha to come to terms with