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During that time you’ve been here in the darkness, sitting on the small telephone seat near the front door, waiting.You only moved once, after half an hour, when you went back through the kitchen to check on the maid.
As the book progresses, we are given clues as to who ‘we’ are in the book and what role we might play in the story. I noticed that you were looking for something; more than looking, in fact you seemed to be on a mission, and since I am both a native of this city and speaker of your language, I thought I might offer you my services.
Unlike a straightforward first-person viewpoint, this type of narrator may have some agenda with ‘us’ — something they want to convince us of or an attitude towards us.
Cast in the story, we feel more involved in the discourse.
Here’s a piece of advice from editor Kate Angelella: “If an author wanted to try writing in second-person POV, I would encourage them to do so — so long as it's a purposeful choice.
In fiction, a second-person narration is often used to transform the reader into a character, as a means of drawing them closer to the story.
When writing from this POV, authors will most commonly use the pronoun, ' as opposed to 'I' in the first person and 'he,' 'she,' 'they,' and 'it' in the third person.It’s interesting to note that Complicity, like As the book unfolds, more assertions are made about the reader (“You’re the sort of person who, on principle, no longer expects anything of anything”).According to Abraham, Calvino’s book is ”very self consciously and brilliantly about the writing and reading processes, and about narrative itself. About reality and unreality.”As this book is a metafiction that delves into the nature of literature — and is very much about the act of reading — the use of second-person POV is not just appropriate but an intrinsic part of what makes it work.But second-person POV is more than just a mechanism that guides the dynamic between readers and characters... Some novels directly address the reader as a character — but they are not strictly written in the second-person.Books that fall into this category include epistolary stories that take the form of letters written by one character to another.These include works like Bram Stoker’s takes this even further and blurs the lines between first and second person.The protagonist, a Pakistani man on the streets of Lahore, speaks to an American stranger — you, the reader. Do not be frightened by my beard: I am a lover of America.Most contemporary novels are written from first- or third-person perspectives, but many prominent writers (such as Junot Diaz and Lorrie Moore) have written short stories from a second-person POV on more than one occasion.In other words, what is an author trying to achieve when they write their novel, chapter, or short story from the second-person POV? When we talk about narrative POVs, we often mention intimacy — in particular, how first-person narratives tend to be more intimate than third person ones.“Second-person is a cut closer than that because readers actually are the character,” says Joel Bahr, a developmental editor at Amazon Publishing.We’ve looked at how second-person narration can bring readers closer to the story.But often, it’s actually used to create a greater sense of distance between the true narrator and the story they’re telling — as editor Matthew Sharpe suggests is the case with .“It's almost as if the narrator's conscience is writing the novel, and there's a bit of self-accusation there, like, ‘You screwed this up, then you screwed up this other thing,’ and so on.“Similarly, you can see this level of detachment in Lorrie Moore’s The protagonist here is not meant to be you, the reader, or Moore, the writer.