Structure in Lit Novels
STRUCTURE
STRUCTURE refers to shape. Writers shape the texts they create by fitting characters, places and events into a story which is satisfying and complete. Structural framework, on which the details of the text are hung, develops the sense the reader regarding how complex details fit into a shaped whole, and so tells you more about the meaning and purpose of the work.
BASIC STRUCTURE IN NOVELS AND PLAYS
• EXPOSITION: This is the beginning, where the world of the text is introduced. The reader, or audience, meets the characters and past events that may assist understanding of the situation are explained. Here too, themes are announced as are dominant ideas, or aspects of characters. Action is usually limited.
• COMPLICATION: This may comprise problems, mysteries, tests. Action and movement of the plot is created. The complications of the plot explore the complex nature of the characters and the big issues of the text and put themes and characters under pressure, to force them to an outcome.
• RESOLUTION: A drastic event or sequence of action may occur in order to solve problems and mysteries, either happily or disastrously. The complications of the plot are cleared up and decisive events occur which dominate and will shape the future.
STRUCTURAL DEVICES INCLUDE:
1. Stream of consciousness- A literary style in which one's thoughts and feelings are depicted in a continuous and uninterrupted flow.
2. Interior Monologue- a literary attempt to present the mental processes of a character before they are formed into regular patterns of speech or logical sequence
NB: Interior Monologue involves a stylised way of thinking out loud. (Technically: thinking ‘on the page’.) Unlike stream-of-consciousness, an interior monologue can be integrated into a third-person narrative. The viewpoint character’s thoughts are woven into authorial description, using their own language.This is the essential difference between interior monologue and straight narrative: Narrative = the narrator talking Interior Monologue = a character talking/thinking, using words specific to that character, making assumptions, mistaken judgements, conclusions RIGHT FOR THAT CHARACTER. Stream of Consciousness is another stylised way of thinking out loud. The term ‘stream of consciousness’ is very similar to interior monologue – and used interchangeably by some – but this refers more specifically to a first person narrative which mimics the jumble of thoughts, emotions and memories passing through a character’s mind. (Interior monologue is not necessarily written in first person.) Stream of consciousness tends to be less ordered than interior monologue. Consciousness has no beginning and no end – thoughts flit quite randomly from one thing to another.
3. Flashback- A literary or cinematic device in which an earlier event is inserted into the normal chronological order of a narrative.
4. Foreshadowing- To present an indication or a suggestion of beforehand; presage.
5. Chapter organisation- how the plot is segmented. Short chapters may heighten drama. Longer chapters may be designed to develop character and theme and push the plot forward.
6. Time Frame- A period during which something takes place or is projected to occur
7. Motif- (moh-TEEF): a recurring object, concept, or structure in a work of literature. A motif may also be two contrasting elements in a work, such as good and evil. In the Book of Genesis, we see the motif of separation again and again throughout the story. In the very first chapter, God separates the light from the darkness. Abraham and his descendants are separated from the rest of the nation as God's chosen people. Joseph is separated from his brothers in order that life might be preserved. Another motif is water, seen in Genesis as a means of destroying the wicked and in Matthew as a means of remitting sins by the employment of baptism. Other motifs in Genesis and Matthew include blood sacrifices, fire, lambs, and goats. A motif is important because it allows one to see main points and themes that the author is trying to express, in order that one might be able to interpret the work more accurately e.g. the weather in Wuthering Heights, the use of darkness and light in Brown Girl Brownstones.
8. Juxtaposition- an act or instance of placing (usually in literature, two events, or characters) close together or side by side, especially for comparison or contrast.
STRUCTURE IN BROWNGIRL BROWNSTONES
The construct of this novel of self-actualisation and maturation follows the paradigm of the typical Bildungsromans. The structure enables the reader to journey along with the key character Selina as she transcends from innocence and becomes exposed to a world of experience.
The layered structure of the novel is reflective of the architectural imagery associated with the text. Chapter organisation becomes indelibly linked to both character and thematic development, as Marshall’s segmentation of her novel “upon blocks (books) that are tiered” (Denniston) effectively delineates for the reader the various stages in Selina’s quest for identity within the multicultural context in which she exists. In fact, according to critic Kimberly Benston, “from the very first paragraph to the last, Marshall’s architecture is so carefully wrought as to elicit with seeming effortlessness an imposing metaphor for the novel itself.”
Book One, “A Long Day and a Long Night” introduces the main characters of the diaspora to which Marshall herself belongs. The use of juxtaposition highlights the shared dilemma of the black, Caribbean emigrant in New York and demonstrates that although each character may seek his own form of self protection, ultimately they all share an inherited ancestral suffering. Foreshadowing on the part of Silla hints at Deighton’s doom. This three chapter segment essentially portrays that our protagonist, Selina-now ten, although still cocooned by her own innocence, is internally conflicted regarding her identity and sense of self
Book Two, “Pastorale”, is merely one book long. Time shifts months ahead. The introduction to the Chancellor home is juxtaposed next to the exposure to that of the Boyce family in Book One in order to emphatically demonstrate the contrast between the family which is united in its quest to achieve the American Dream, and one in which their dreams are in conflict with each other. Deighton, like Percy, works at the matress factory, and also knows the significance of land ownership. Deighton’s dream though lies not in the American Dream, like his wife and the other Bajans, but in the Dream of Return. The natural setting of Prospect Park underscores the free spirit of Selina, which contrasts sharply with Beryl’s. This book allows for a transition on the part of our protagonist. It marks a brink from innocence into the experiences and challenges of growing physiologically and psychologically within an adult world.
Book Three, “War” is skilfully manipulated in order to reflect the impact of war on a global scale, war within the Boyce family, and war within Selina herself. The nine chapters develop the plot, thematic concerns and characters further. The end of World War II at the end of chapter nine parallels the end of war between Silla and Deighton and signals the beginning of Selina’s own journey to find herself.
Book Four, “Selina” engages us with Selina’s growth and development as she seeks to attain her personal and cultural identity.
STRUCTURE refers to shape. Writers shape the texts they create by fitting characters, places and events into a story which is satisfying and complete. Structural framework, on which the details of the text are hung, develops the sense the reader regarding how complex details fit into a shaped whole, and so tells you more about the meaning and purpose of the work.
BASIC STRUCTURE IN NOVELS AND PLAYS
• EXPOSITION: This is the beginning, where the world of the text is introduced. The reader, or audience, meets the characters and past events that may assist understanding of the situation are explained. Here too, themes are announced as are dominant ideas, or aspects of characters. Action is usually limited.
• COMPLICATION: This may comprise problems, mysteries, tests. Action and movement of the plot is created. The complications of the plot explore the complex nature of the characters and the big issues of the text and put themes and characters under pressure, to force them to an outcome.
• RESOLUTION: A drastic event or sequence of action may occur in order to solve problems and mysteries, either happily or disastrously. The complications of the plot are cleared up and decisive events occur which dominate and will shape the future.
STRUCTURAL DEVICES INCLUDE:
1. Stream of consciousness- A literary style in which one's thoughts and feelings are depicted in a continuous and uninterrupted flow.
2. Interior Monologue- a literary attempt to present the mental processes of a character before they are formed into regular patterns of speech or logical sequence
NB: Interior Monologue involves a stylised way of thinking out loud. (Technically: thinking ‘on the page’.) Unlike stream-of-consciousness, an interior monologue can be integrated into a third-person narrative. The viewpoint character’s thoughts are woven into authorial description, using their own language.This is the essential difference between interior monologue and straight narrative: Narrative = the narrator talking Interior Monologue = a character talking/thinking, using words specific to that character, making assumptions, mistaken judgements, conclusions RIGHT FOR THAT CHARACTER. Stream of Consciousness is another stylised way of thinking out loud. The term ‘stream of consciousness’ is very similar to interior monologue – and used interchangeably by some – but this refers more specifically to a first person narrative which mimics the jumble of thoughts, emotions and memories passing through a character’s mind. (Interior monologue is not necessarily written in first person.) Stream of consciousness tends to be less ordered than interior monologue. Consciousness has no beginning and no end – thoughts flit quite randomly from one thing to another.
3. Flashback- A literary or cinematic device in which an earlier event is inserted into the normal chronological order of a narrative.
4. Foreshadowing- To present an indication or a suggestion of beforehand; presage.
5. Chapter organisation- how the plot is segmented. Short chapters may heighten drama. Longer chapters may be designed to develop character and theme and push the plot forward.
6. Time Frame- A period during which something takes place or is projected to occur
7. Motif- (moh-TEEF): a recurring object, concept, or structure in a work of literature. A motif may also be two contrasting elements in a work, such as good and evil. In the Book of Genesis, we see the motif of separation again and again throughout the story. In the very first chapter, God separates the light from the darkness. Abraham and his descendants are separated from the rest of the nation as God's chosen people. Joseph is separated from his brothers in order that life might be preserved. Another motif is water, seen in Genesis as a means of destroying the wicked and in Matthew as a means of remitting sins by the employment of baptism. Other motifs in Genesis and Matthew include blood sacrifices, fire, lambs, and goats. A motif is important because it allows one to see main points and themes that the author is trying to express, in order that one might be able to interpret the work more accurately e.g. the weather in Wuthering Heights, the use of darkness and light in Brown Girl Brownstones.
8. Juxtaposition- an act or instance of placing (usually in literature, two events, or characters) close together or side by side, especially for comparison or contrast.
STRUCTURE IN BROWNGIRL BROWNSTONES
The construct of this novel of self-actualisation and maturation follows the paradigm of the typical Bildungsromans. The structure enables the reader to journey along with the key character Selina as she transcends from innocence and becomes exposed to a world of experience.
The layered structure of the novel is reflective of the architectural imagery associated with the text. Chapter organisation becomes indelibly linked to both character and thematic development, as Marshall’s segmentation of her novel “upon blocks (books) that are tiered” (Denniston) effectively delineates for the reader the various stages in Selina’s quest for identity within the multicultural context in which she exists. In fact, according to critic Kimberly Benston, “from the very first paragraph to the last, Marshall’s architecture is so carefully wrought as to elicit with seeming effortlessness an imposing metaphor for the novel itself.”
Book One, “A Long Day and a Long Night” introduces the main characters of the diaspora to which Marshall herself belongs. The use of juxtaposition highlights the shared dilemma of the black, Caribbean emigrant in New York and demonstrates that although each character may seek his own form of self protection, ultimately they all share an inherited ancestral suffering. Foreshadowing on the part of Silla hints at Deighton’s doom. This three chapter segment essentially portrays that our protagonist, Selina-now ten, although still cocooned by her own innocence, is internally conflicted regarding her identity and sense of self
Book Two, “Pastorale”, is merely one book long. Time shifts months ahead. The introduction to the Chancellor home is juxtaposed next to the exposure to that of the Boyce family in Book One in order to emphatically demonstrate the contrast between the family which is united in its quest to achieve the American Dream, and one in which their dreams are in conflict with each other. Deighton, like Percy, works at the matress factory, and also knows the significance of land ownership. Deighton’s dream though lies not in the American Dream, like his wife and the other Bajans, but in the Dream of Return. The natural setting of Prospect Park underscores the free spirit of Selina, which contrasts sharply with Beryl’s. This book allows for a transition on the part of our protagonist. It marks a brink from innocence into the experiences and challenges of growing physiologically and psychologically within an adult world.
Book Three, “War” is skilfully manipulated in order to reflect the impact of war on a global scale, war within the Boyce family, and war within Selina herself. The nine chapters develop the plot, thematic concerns and characters further. The end of World War II at the end of chapter nine parallels the end of war between Silla and Deighton and signals the beginning of Selina’s own journey to find herself.
Book Four, “Selina” engages us with Selina’s growth and development as she seeks to attain her personal and cultural identity.