Together with a storyline that relates to a series of disappointed events, Ian McEwan's Atonement explores the concept of reality in the fragile balance of human existence. McEwan's mastery of narration helps to shape his reader's knowledge that the fact is subjective. McEwan's employment of shifting focalization and presentation of a solitary event approached from many character views and utilization of both third and first person narration most contribute to this conclusion.
The first 3 parts of Atonement are drafted in third person limited omniscient liaison. The focalization of this lien shifts involving the characters and the reader is provided with varying points of views of the account world. The effect of this would be that the reader can be guided through the text by a multitude of persona voices and perspectives, rendering the reader better suited grasp the different frames of reference whereby each character experiences the plot. The fist sections of the text include narration focalized through many of the novels character's which include Emily Tallis;
Emily let her thoughts approach away from her eldest little girl and dispatched the tendrils of a being concerned disposition away towards her youngest. Poor darling Briony, the the warmest little thing, doing her all to entertain her hard-bitten wiry cousins together with the play she had written coming from her cardiovascular. To love her was to be soothed. (McEwan 65)
Here McEwan presents the reader with a detailed consideration of how Emily Tallis perceives the world around her, particularly if it comes to her children. All of us learn of Emily's adoration of Briony. By simply imparting these details, McEwan shows that Emily Tallis's perspective of Briony is at chances by the in the "controlling" and "unapologetically deinem...
... the interpretations that we come since the events that constitute our lives necessarily explicitly fact. This compounds the idea that reality is an abstract concept, determined by the individual and the context.
Through these kinds of narrative approaches, McEwan teaches of the probability of many conflicting versions of reality. Our understanding is manipulated through focalization and command of both initially and third person narration, leading all of us to the bottom line that reality and fictional works are carefully intertwined. Someone is kept recognizing that reality is subjective, and thus precisely what is ‘real' for starters individual is not the same as what another discerns as real. "It wasn't only wickedness and scheming that manufactured people unhappy, it was distress and misunderstanding above all, it had been the inability to grasp the easy truth that folks are since real as you" (40).