270 • INDEX
Booth, Wayne C., 96–99, 196, 218
Browning, Robert, 57–58
Cement Garden, The (McEwan), 100
Chandler, Raymond, 233
character(s): and character-character dia-
logue, 16, 20, 154, 171–72, 215, 217–18,
258; and narrative communication
model, 13–19; in novels, 69
character narration, 16, 20, 57, 64–65, 97n1,
99, 117, 135, 153–58, 171–72, 218–20, 230–
32, 258. See also convergent narration;
deficient narration; restricted narration;
unreliable narration
Chatman, Seymour, xii, 13, 25, 29, 118n1
“Clean, Well-Lighted Place, A” (Heming-
way), 205
cognitive theory, 150–53, 166–67
Cohn, Dorrit, 69
Company We Keep, The (Booth), 97
complex coding, 110, 112–15
Conrad, Joseph, 94, 135–49
constraint, 70–72, 76, 77–81
convention, probability and, 44, 49n11
convergent narration, 220, 225–26, 232–33,
234 fig. 12.1, 235 fig. 12.3
conversational disclosure, 16, 168–70, 175–80,
183–94
conversations: as narration, 171–74
coping strategies, 109
Copland, Sarah, 58n14
cosmopolitan theory, 216
Crane, R. S., 33n1, 92
creative nonfiction, 67–68, 72
crossover effects, 33, 52–57, 217–18, 227, 227n6
“Das Urteil” (Kafka), 10, 82–94
deconstruction, 199–202
deficient narration, xii, 195, 206–14, 230–31,
235–37, 237 fig. 12.4, 237 fig. 12.5; intra-
textual narration, 236–37, 237 fig. 12.4,
237 fig. 12.5; referential, 236
Der Leser (Schlink), 118n1
dialogue: in “Appearances,” 185–94; authorial
disclosure and, 168–70, 175–80, 183–94;
character-character, 16, 20, 154, 171–72,
215, 217–18, 258; in “Das Urteil,” 89; in
Friends of Eddie Coyle, 14–18, 169–71;
novel, 171–74; in Sound and the Fury,
21–24; in “The Third and Final Conti-
nent,” 221–25
Didion, Joan, 10, 77–81, 196, 206–9, 212,
212n5, 213
Diedrick, James, 118n1
Diving Bell and the Butterfly, The (Bauby),
196, 209–13
Dominant Focus, Meta-Rule of, 40–41,
48–49, 55, 57, 58n14, 74, 76, 165, 227
Donoghue, Emma, 22–24Easterbrook, Neil, 118n1
Enduring Love (McEwan), 239–56, 240n1,
250n4, 258
epistemology, 43–45, 168–69
estranging unreliability, 99–100, 110–16
ethics: in Adventures of Huckleberry Finn,
108; in “Appearances,” 194; in “Das
Urteil,” 83, 95; deficient narration and,
236; in The Diving Bell and the Butterfly,
211; in Friends of Eddie Coyle, 179–80;
in Lolita, 96–99, 110–16; in Lord Jim,
135, 141, 147–49; in “Recitatif,” 153–58;
in Stitches, 57; of telling vs. of told, 8–9,
16–17, 22–25; in Time’s Arrow, 125–26
“Expenses for the Month” (anon.), 37–41,
45n9, 49
extraordinary revelation, 48, 55Farewell to Arms, A (Hemingway), 108–9
Faulkner, William, 9–10, 21–22, 100, 110
feminist narrative theory, 150n1
fiction: audience in, 69–70; author in, 69–70;
creative nonfiction and, 67–68; metafic-
tion, 11, 49, 69; nonfiction vs., 68–69,
72–73; in rhetorical theory, 69–73
fictionality, markers of, 68
fictional mimesis, 44–45
Fielding, Henry, 69
Finney, Brian, 118n1
Fish, Stanley, 199–200
Fitzgerald, F. Scott, 49–51, 138, 144, 220, 228,
233
Ford, Andrew, 33–35
Ford, Ford Madox, 100
freedom, 70–72, 77–81, 118
Frey, James, 67, 213, 236
Friends of Eddie Coyle, The (Higgins), 9,
14–19, 24–25, 28–29, 168–85, 177n3