https://padlet.com/keankrog7/8ky40vjkhettqhi0 en-us 2022-07-25 09:38:47 UTC 2022-07-25 16:18:34 UTC hello@padlet.com keankrog7 https://padlet.com/keankrog7/8ky40vjkhettqhi0/wish/2249272288 1. Truth
This important element in Atonement represents the postmodern truth theory: there is no definitive reality or truth. The only existing truth is a construct created by the reader in order to satisfy his desire for order. This conception of truth is important to Postmodernism. The assertion that there is no absolute truth is supplemented by the remark that we presume something is true because of its representation. This is exactly what happens in McEwan's story, since the reader is mislead by representation, which leads to incorrect assumptions.

2. Language 
When considering the postmodern conception of truth, language plays a crucial part as well. Language is viewed as a tool for creating the world and certainties, even though these are not always true. This is also true in Atonement, when the reader is led astray by Briony's choice of phrase and utterances.

3. Metatextuality
The reader discovers that he is unable to differentiate between truth and falsehoods when using this metatextual method. Because the reader is forced to doubt reality, this is a deliberate postmodernist ruse. By exposing fabrication in the creation, postmodernism seeks to disprove the idea of an objective truth. As he learns about metatextuality in this section of the book, the reader undoubtedly experiences a change in the truth.]]> 2022-07-25 12:39:19 UTC https://padlet.com/keankrog7/8ky40vjkhettqhi0/wish/2249272288 keankrog7 https://padlet.com/keankrog7/8ky40vjkhettqhi0/wish/2249301050 This illusion lasts until the first reader turns the page to the epilogue, "London, 1999," and learns that Parts One, Two, and Three were actually written by none other than the 77-year-old Briony Tallis. Because of the information in the epilogue concerning the events we have just read, the novel is now considered metafiction.

McEwan makes hints about the process of writing and rewriting that takes place while creating a work of fiction early on in the book. For instance, Briony contemplates asking Cecilia to clarify the "prospect she was getting near to defining, at least emotionally" after witnessing her sister come dripping wet from the fountain outdoors . It is assumed that this "definition would improve itself throughout the years"  and via several iterations. The lengthy chapter that follows flashes forward sixty years in order to inform the reader that, starting from that point on, everything of Briony's literature was influenced by "an unbiased psychological realism which she had found for herself"  that same morning.

In order to "drown her shame in a torrent - three streams! - of knowledge," the novella was intentionally left out of "anything she did not wish to face". It will be obvious that all of C. C.'s suggestions were considered when reading Part One again after receiving his rejection letter; this is another illustration of McEwan's skillful use of metafictional techniques.

The reader is given the impression that McEwan is atoning for a 64-year-old crime through fiction because to the metafictional techniques he uses in this book. The juxtaposition of two versions of the events and the length of the epilogue, which functions as one large metafictional twist, are crucial in bringing attention to the writing process. So are allusions to several revisions and creative license in terms of leaving out truths. However, Briony's unreliable narration persuades the perceptive reader that there is actually no chance for her to make amends.


]]> 2022-07-25 13:39:19 UTC https://padlet.com/keankrog7/8ky40vjkhettqhi0/wish/2249301050 keankrog7 https://padlet.com/keankrog7/8ky40vjkhettqhi0/wish/2249376179 2022-07-25 16:18:34 UTC https://padlet.com/keankrog7/8ky40vjkhettqhi0/wish/2249376179