Narrative Voice: Etymology, Meanings and Concept
Etymology/Term:
The term “narrative voice” traces its roots to the combination of two key elements: “narrative,” which comes from the Latin word “narrare,” meaning “to tell,” and “voice,” derived from the Old French word “vois,” indicating “sound” or “expression.” Together, they form a literary concept that encapsulates the manner in which a story is presented or conveyed to the audience.
Meanings and Concept:
- Perspective and Point of View: It encompasses the perspective from which a story is narrated, determining whether it is first-person, third-person limited, or omniscient. It reflects the character or entity through which the audience experiences the unfolding events.
- Tone and Style: It plays a crucial role in establishing the overall tone and style of a work. It influences the language choices, rhythm, and mood, contributing to the reader’s emotional engagement with the narrative.
- Character Voice: In the context of fiction, it can be synonymous with the unique voices of characters. It involves the distinctive way individuals express themselves, influencing the authenticity and believability of the characters within the story.
- Authorial Voice: This aspect of it refers to the author’s distinctive style and tone that transcends individual characters. It represents the author’s presence in the narrative, shaping the overall literary experience.
- Reliability and Unreliability: It determines the reliability of the information presented. Whether it’s a trustworthy narrator providing a factual account or an unreliable narrator introducing subjective elements, the narrative voice guides the reader’s perception of the story’s veracity.
- Cultural and Linguistic Voice: In multicultural or multilingual settings, it extends to include cultural and linguistic nuances. It involves the use of language and expression that reflect the cultural context, adding depth and authenticity to the storytelling.
Understanding it is fundamental to literary analysis, as it serves as a gateway to unraveling the layers of a narrative, influencing how readers interpret and connect with the story.
Narrative Voice: Definition of a Theoretical Term
Narrative voice is a theoretical term in literature that refers to the perspective or vantage point from which a story is narrated. It encompasses the stylistic and linguistic choices made by the narrator, influencing the overall tone, mood, and conveyance of information within the narrative. This conceptual framework allows scholars and readers to analyze the subjective and interpretive elements inherent in storytelling, as different narrative voices shape the reader’s engagement with the text.
Narrative Voice: Theorists, Works and Arguments
Theorists:
- Wayne C. Booth: Noted for his work in narrative theory, Booth emphasized the importance of the implied author and the ethical dimensions of narrative voice, examining the relationship between the narrator and the audience.
- Gérard Genette: A prominent figure in narratology, Genette delved into the study of narrative voice through his exploration of focalization, distinguishing between external and internal perspectives in storytelling.
- Roland Barthes: Known for his influential essay “The Death of the Author,” Barthes challenged traditional notions of narrative authority, questioning the significance of authorial voice in the interpretation of texts.
Works:
- “The Rhetoric of Fiction” by Wayne C. Booth (1961): In this seminal work, Booth discusses the concept of unreliable narration and the ethical responsibilities of the narrator, contributing significantly to the understanding of narrative voice.
- “Narrative Discourse” by Gérard Genette (1972): Genette’s exploration of narrative voice and focalization in this work provides a comprehensive framework for analyzing the various perspectives from which a story can be told.
- “The Death of the Author” by Roland Barthes (1967): Barthes’ essay challenges conventional notions of narrative authority by questioning the importance of the author’s voice, paving the way for a more reader-centric interpretation of texts.
Arguments:
- Implied Author and Ethical Commitment (Booth): Wayne C. Booth argued that the implied author, a construct inferred from the narrative voice, plays a crucial role in shaping the reader’s understanding of the story and that the narrator carries ethical responsibilities in presenting the narrative.
- Focalization and Perspective (Genette): Gérard Genette’s focus on focalization distinguishes between who sees or perceives in a narrative, shedding light on the impact of perspective on storytelling and how it influences the audience’s reception of the narrative.
- Death of the Author (Barthes): Roland Barthes’ argument challenges the traditional authority of the author’s voice, asserting that the reader’s interpretation is paramount and that the author’s intentions should not limit the myriad meanings a text can generate.
Narrative Voice: Major Characteristics
- Point of View (POV):
- First Person: The narrator is a character within the story and uses pronouns like “I” and “we.” This perspective provides direct access to the narrator’s thoughts and feelings.
- Second Person: The narrator addresses the audience as “you,” creating a sense of direct involvement. This POV is less common in fiction.
- Third Person Limited: The narrator is external to the story and focuses on the thoughts and feelings of one character. Pronouns such as “he,” “she,” or “they” are used.
- Third Person Omniscient: The narrator is external and all-knowing, with insights into the thoughts and emotions of multiple characters.
- Tone:
- The emotional quality of the narrative voice sets the overall mood of the story. It can be serious, humorous, sarcastic, formal, informal, or any combination of these.
- Style:
- The manner in which the story is written, including the choice of words, sentence structure, and language, contributes to the narrative voice. Styles can range from straightforward and simple to elaborate and poetic.
- Reliability:
- The reliability of the narrator is crucial. A reliable narrator provides accurate information, while an unreliable narrator may distort or misinterpret events, adding complexity and intrigue to the story.
- Distance:
- The level of emotional distance between the narrator and the characters affects how intimately the audience engages with the story. A close narrative voice allows for deep emotional connection, while a more distant voice may create a sense of detachment.
- Consistency:
- Maintaining a consistent narrative voice helps establish the story’s identity. Sudden shifts in voice can be jarring for readers, so authors often choose a consistent approach based on the story’s needs.
- Purpose:
- The narrative voice serves a specific purpose, whether it’s to entertain, inform, persuade, or evoke emotions. Understanding this purpose helps the author craft a voice that aligns with the story’s goals.
- Cultural and Historical Context:
- The narrative voice may be influenced by the cultural and historical context of the story. Different time periods and societies may have unique linguistic nuances that shape the narrator’s voice.
By skillfully manipulating these characteristics, authors can create a narrative voice that enhances the overall impact of their storytelling, making the reading experience more engaging and memorable for the audience.
Narrative Voice: Relevance in Literary Theories
| Literary Theory | Relevance of Narrative Voice |
| Structuralism | Analyzes the underlying structures and systems in narratives. It contributes to the construction of these structures, shaping the overall organization and meaning of the text. |
| Formalism/New Criticism | Focuses on the intrinsic features of a literary work. It is examined as a crucial element of form, influencing the reader’s interpretation and contributing to the overall aesthetic quality of the text. |
| Reader-Response Theory | Emphasizes the role of the reader in constructing meaning. Narrative voice influences the reader’s emotional and intellectual response, shaping the interpretive process and the reader’s engagement with the text. |
| Feminist Criticism | Explores gender roles and power dynamics. Narrative voice, particularly the choice of point of view, can reflect or challenge societal expectations related to gender, providing insights into the portrayal of characters. |
| Postcolonial Criticism | Examines the representation of colonized and marginalized cultures. Narrative voice is crucial in conveying diverse perspectives and voices, shedding light on the impact of colonialism on language and identity. |
| Psychoanalytic Criticism | Investigates the unconscious elements in literature. Narrative voice is examined for its role in revealing characters’ inner thoughts and desires, contributing to the exploration of psychological complexities within the narrative. |
| Marxist Criticism | Focuses on social and economic structures. Narrative voice may highlight class distinctions, social injustices, and power dynamics, offering insights into the representation of societal structures and conflicts. |
| Postmodernism | Challenges traditional narrative conventions. Narrative voice is often fragmented or deconstructed, playing a key role in subverting linear storytelling and questioning established notions of truth and identity. |
Narrative Voice: Application in Critiques
- Fight Club by Chuck Palahniuk (1996)
Chuck Palahniuk’s Fight Club is notable for its use of a first-person, unreliable narrator. The protagonist’s voice is raw, cynical, and filled with existential angst, reflecting the disillusionment and dissatisfaction prevalent in the 1990s. The unreliable narrator adds complexity to the storytelling, forcing readers to question the authenticity of the narrative. Palahniuk’s choice of narrative voice contributes to the novel’s gritty and subversive atmosphere, making it a quintessential work of 1990s literature.
- The Virgin Suicides by Jeffrey Eugenides (1993)
In The Virgin Suicides, Eugenides employs a first-person plural narrative voice, with a collective “we” perspective used by a group of neighborhood boys. This narrative choice creates a sense of shared community memory, emphasizing the impact of the Lisbon sisters on the entire neighborhood. The detached and observational tone of the collective voice serves as a poignant commentary on adolescence and societal expectations. Eugenides’ narrative voice captures the melancholic and reflective mood of the 1990s, addressing themes of suburban ennui and the fleeting nature of youth.
- Infinite Jest by David Foster Wallace (1996)
David Foster Wallace’s Infinite Jest features a complex narrative voice, incorporating a mix of first-person and third-person perspectives. The novel’s sprawling and intricate structure allows for multiple narrative threads and character viewpoints. Wallace’s use of footnotes and unconventional formatting adds layers to the narrative voice, reflecting the information-saturated culture of the 1990s. The blending of voices contributes to the novel’s intellectual depth and satirical commentary on addiction, entertainment, and the pursuit of happiness.
- The Poisonwood Bible by Barbara Kingsolver (1998)
Barbara Kingsolver’s The Poisonwood Bible employs a retrospective first-person narrative voice, with each of the Price sisters taking turns as the narrator. The choice to use multiple voices provides a nuanced exploration of the Price family’s experiences in the Congo. The novel’s narrative structure reflects the shifting perspectives and evolving understanding of events over time. Kingsolver’s narrative voice contributes to the exploration of cultural clashes, missionary zeal, and the consequences of colonialism, offering a rich and thought-provoking reading experience.
In summary, the 1990s saw a diverse range of narrative voices in literature, reflecting the cultural, social, and stylistic trends of the time. From the gritty first-person narrative of Fight Club to the collective perspective in The Virgin Suicides, and the multifaceted approach in Infinite Jest to the varied voices in The Poisonwood Bible, these works showcase the versatility and experimentation in narrative techniques during this dynamic decade.
Narrative Voice: Relevant Terms
| Term | Definition |
| First-person | Narrator is a character in the story, using “I” pronouns. |
| Third-person limited | Narrator knows thoughts and feelings of one character. |
| Omniscient | Narrator knows thoughts and feelings of all characters. |
| Unreliable | Narrator’s credibility is questionable or biased. |
| Stream of consciousness | Uninterrupted flow of thoughts and feelings from a character. |
| Voice | Distinctive style and tone of a writer evident in the narrative. |
| Tone | Attitude or mood conveyed by the author through the narrative. |
| Perspective | Point of view from which the story is told, influencing the reader’s perception. |
| Second-person | Narrator addresses the reader directly using “you” pronouns. |
| Multiple Narrators | Different characters take turns narrating parts of the story. |
Narrative Voice: Suggested Readings
- Barthes, Roland. S/Z: An Essay. Hill and Wang, 1974.
- Carver, Raymond. What We Talk About When We Talk About Love. Vintage, 1989.
- Faulkner, William. The Sound and the Fury. Vintage, 1990.
- Genette, Gérard. Narrative Discourse: An Essay in Method. Cornell University Press, 1980.
- Kerouac, Jack. On the Road. Penguin, 1991.
- Morrison, Toni. Beloved. Vintage, 2004.
- O’Brien, Tim. The Things They Carried. Mariner Books, 2009.
- Plath, Sylvia. The Bell Jar. Harper Perennial Modern Classics, 2005.
- Salinger, J.D. The Catcher in the Rye. Little, Brown and Company, 1991.
- Tan, Amy. The Joy Luck Club. Penguin, 2006.
- Woolf, Virginia. Mrs. Dalloway. Harcourt Brace Jovanovich, 1981.
- Zusak, Markus. The Book Thief. Alfred A. Knopf, 2006.
