Contrasts between form and structure in PH and TV

Question 1

Points

Answer 1

• PH begins with a pivotal moment in the story, which helps to build tension and engage the reader.
• The three-year gap between the penultimate and final sections helps to provide a sense of resolution and allows the reader insight into the characters’ development, as well as showing the long-term effects and enduring presence of Papa.
• Contrasts greatly with TV, which develops in a predictable way with a strong sense of inevitability, Durrenmatt showing the audience that characters will inevitably succumb to greed and materialism.
• The way that the reader experiences tension is always through Kambili’s narration. Kambili often doesn’t register strong emotions because she has been desensitised to the violence, and silences herself. A kind of dramatic irony as the reader registers shock and horror on her behalf.
• Comedic/ farcical elements and presentation of mob mentality affect audience experience of Ill’s death, compared to Papa’s death which occurs away from narrative point of view, in a quiet, understated manner, Mama gradually poisoning his tea. All hidden, probably unexpected for the reader.
• CZ states her objective immediately, but in PH reader possibly expects Papa to kill a family member, in particular, a direct confrontation between Papa and Jaja - foreshadowed by the throwing of the missal.
• Kambili’s ‘blossoming’ in the final section, juxtaposed by the evident trauma of both Jaja and Mama, completes the coming-of-age journey for Kambili, suggesting she is able to move on, but perhaps also unnervingly naïve. When other family members are so profoundly damaged.
• Climaxes: focus more on visual elements in TV, vivid descriptions in stage directions. Whereas in PH climaxes are marked more by tonal shifts. Though the initial smashing of the figurines has a visual and symbolic impact.
• Both narratives skip over the immediate aftermaths of the killings, and fast forward in time - different methods (tableau v. three-year gap) but with similar unsettling effects on the reader/ audience. In PH, Kambili’s naivety…
• Objective audience perspective v. limited omniscience of first-person narration. Amplifies the suddenness of Papa’s death as compared with the gradual build-up in TV
• A similar hollowness to the hopeful endings with Guelleners’ dazzling prosperity and Kambili’s easy optimistic laughter.