When readers think of Vladimir Nabokov’s classic novel Lolita, they’re arguably more likely to recall the silver-tongued wordplay of its narrator, Humbert Humbert, than they are of the machinations of the plot, the character’s verbal gymnastics intended to distract from the horrors of his crimes. As Humbert declares, “You can always count on a murderer for a fancy prose style.” One of William Faulkner’s most revered novels, Light in August, utilizes a complex, impressionistic style, even to the point of incorporating made up words like “sootbleakened” and “childtrebling,” to underscore the psychological complexity of its potentially unsympathetic lead, Joe Christmas. Tim O’Brien’s book The Things They Carried is a Vietnam account that constantly casts doubt on its own veracity, its narrator interrogating just what it means to tell a “true” war story.
All of these works prove why who is telling a story is often just as crucial as the story itself, if not more so. As novelist Christopher Castellani states, “There is no more important decision the writer makes than who tells the story.” Castellani is the author of The Art of Perspective: Who Tells the Story (160 pages), the latest in a collection of books about the craft of writing published by Graywolf Press. While the series may be of most interest to writers, Castellani discusses fiction in such an accessible and engaging manner that the book should prove compelling to anyone who is curious about why some of their favorite novels work the way they do.