In “A Rose for Emily,” William voiced a subjective tone as the narrator openly expressed participation in the stories events. Words such as our in “our whole town went to her funeral” and we in “we didn’t say she was crazy then” suggests an association between the narrator and the protagonist; on the other hand, the subjectiveness of “ A Rose for Emily” disputes the objective tone lead by Shirley Jackson in “The Possibility of Evil.” Instead of conveying a personalized attitude in the story, Jackson merely grants the “basic” information that the reader needs, including only details such as “she was seventy-one” and “the perfume of roses meant home, and home meant the Strangeworth House on Pleasant Street.” These simplistic, almost negligible details convey an extremely subjective tone voiced by the
In “A Rose for Emily,” William voiced a subjective tone as the narrator openly expressed participation in the stories events. Words such as our in “our whole town went to her funeral” and we in “we didn’t say she was crazy then” suggests an association between the narrator and the protagonist; on the other hand, the subjectiveness of “ A Rose for Emily” disputes the objective tone lead by Shirley Jackson in “The Possibility of Evil.” Instead of conveying a personalized attitude in the story, Jackson merely grants the “basic” information that the reader needs, including only details such as “she was seventy-one” and “the perfume of roses meant home, and home meant the Strangeworth House on Pleasant Street.” These simplistic, almost negligible details convey an extremely subjective tone voiced by the