In general structural theories and frameworks consider narratives in universal terms, denying often the cultural, historical, and geographical or gender specificity of narratives, authors, readers and narrators. Such unifying analysis and interpretation have been found lacking in expanse by the exponents of Feminist Narratology like Susan Lanser, Kathy Mezei and Moly Hite. According to them the discourse of arrangement of components in narratives and their narration through a fictional or real voice is more than often determined by the cultural, social, psychological and gender-based notions and experience of the author.
In her article Gender and Narrative (web,2013) Susan S. Lanser refers to the necessity of forging “a descriptive poetics …show more content…
and Fire on the Mountain. In these earlier novels Desai incorporates a number of narrative devices within the framework of conventional authorial and omniscient narration. In such intricate narrative pattern the narrating voice and the character’s focalisation negotiate the narrative space. Here at one point the author/narrator’s mediating voice provides contextual reference for the readers; on the next the leading women characters are allowed to project their experiences, impressions and desires through devices like FID and …show more content…
The clear indication of this can be found in Chapter-2 of Part-1 of Fire on the Mountain. This short chapter offers a historically temporal tour for the reader, giving selective but representative accounts of life or rather lives of British people in the much popular hill station of colonial India. Though summative, such segments of narration gives what Lanser calls ‘public narration’ in Fictions of Authority. The maiden English women of colonial era, brought from the native soil to entertain the mass of British employees, soldiers working in Indian continent met with lonely, discarded life when they aged. Kasauli used to shelter quite a lot of such maiden ladies for a long time. The last passage in this chapter clearly voices the perspective of the unidentified narrator whom we may accept as the author’s
In her article Gender and Narrative (web,2013) Susan S. Lanser refers to the necessity of forging “a descriptive poetics …show more content…
and Fire on the Mountain. In these earlier novels Desai incorporates a number of narrative devices within the framework of conventional authorial and omniscient narration. In such intricate narrative pattern the narrating voice and the character’s focalisation negotiate the narrative space. Here at one point the author/narrator’s mediating voice provides contextual reference for the readers; on the next the leading women characters are allowed to project their experiences, impressions and desires through devices like FID and …show more content…
The clear indication of this can be found in Chapter-2 of Part-1 of Fire on the Mountain. This short chapter offers a historically temporal tour for the reader, giving selective but representative accounts of life or rather lives of British people in the much popular hill station of colonial India. Though summative, such segments of narration gives what Lanser calls ‘public narration’ in Fictions of Authority. The maiden English women of colonial era, brought from the native soil to entertain the mass of British employees, soldiers working in Indian continent met with lonely, discarded life when they aged. Kasauli used to shelter quite a lot of such maiden ladies for a long time. The last passage in this chapter clearly voices the perspective of the unidentified narrator whom we may accept as the author’s