‘The beginning of the story is crucial to the way the crime
narrative develops’
It is undeniable that the openings of both Atonement and Murder of Roger
Ackroyd play a crucial role in shaping their crime narratives, laying the
groundwork for the unfolding events. Though they begin differently –
Atonement introduces a seemingly idyllic yet fragile setting, with Briony’s
play revealing her desire for control and storytelling, while The Murder of
Roger Ackroyd opens with the perpetrator himself recounting the death of
Mrs Ferrars – both still establish key themes that run through the novels.
These openings underscore the injustice within the social hierarchy and
the underlying tension within their close-knit communities. By doing so,
McEwan and Christie create an atmosphere where personal ambitions and
moral dilemmas are intensified, where a sense of inevitability dries the
conflicts that unfold – reinforcing the interplay between truth and
deception.
To start, Atonement opens with the idyllic, yet oppressive atmosphere of
the Tallis estate, where McEwan immediately establishes a sense of decay
against the outward beauty of the house. The description of the house,
where ‘morning sunlight, or any light, could not conceal the ugliness of
the Tallis home’ underscores the central theme of appearance versus
reality, with the juxtaposition of light and ugliness reflecting the tensions
simmering beneath the surface of the seemingly controlled environment.
This is similar to the Murder of Roger Ackroyd, where Christie too presents
a seemingly peaceful village of King’s Abbot, however this is all a façade
as beneath the surface, there are lies, secrets and a whole scene of drugs,
such as ‘the veranol’ and the ‘quill’. Continuing, this atmosphere of
unease in Atonement. is further heightened through the oppressive heat,
which is described as having the power to ‘encourage loose morals among
young people’, foreshadowing the passionate encounter between Robbie
and Cecilia – leading to Briony’s misinterpretation - and Marshall’s assault
on Lola. Nevertheless, this heat creates an overwhelming ‘effect of
suffocation’, making everything feels as if it were ‘shrinking’, which is
further emphasised by Emily Tallis’s irrational decision to serve a hot roast
dinner despite the unbearable weather: ‘She had ordered a roast for this
evening, and it would be too stifling to eat’ – illustrating how Emily, as-
well as the other high social class individuals, merely follow social
conventions and routine, prioritising structure over practicality, and hence
reflecting their detachment from reality. Moreover, Marshall’s chocolate
cocktail further intensifies this clammy, nauseating atmosphere, which,
narrative develops’
It is undeniable that the openings of both Atonement and Murder of Roger
Ackroyd play a crucial role in shaping their crime narratives, laying the
groundwork for the unfolding events. Though they begin differently –
Atonement introduces a seemingly idyllic yet fragile setting, with Briony’s
play revealing her desire for control and storytelling, while The Murder of
Roger Ackroyd opens with the perpetrator himself recounting the death of
Mrs Ferrars – both still establish key themes that run through the novels.
These openings underscore the injustice within the social hierarchy and
the underlying tension within their close-knit communities. By doing so,
McEwan and Christie create an atmosphere where personal ambitions and
moral dilemmas are intensified, where a sense of inevitability dries the
conflicts that unfold – reinforcing the interplay between truth and
deception.
To start, Atonement opens with the idyllic, yet oppressive atmosphere of
the Tallis estate, where McEwan immediately establishes a sense of decay
against the outward beauty of the house. The description of the house,
where ‘morning sunlight, or any light, could not conceal the ugliness of
the Tallis home’ underscores the central theme of appearance versus
reality, with the juxtaposition of light and ugliness reflecting the tensions
simmering beneath the surface of the seemingly controlled environment.
This is similar to the Murder of Roger Ackroyd, where Christie too presents
a seemingly peaceful village of King’s Abbot, however this is all a façade
as beneath the surface, there are lies, secrets and a whole scene of drugs,
such as ‘the veranol’ and the ‘quill’. Continuing, this atmosphere of
unease in Atonement. is further heightened through the oppressive heat,
which is described as having the power to ‘encourage loose morals among
young people’, foreshadowing the passionate encounter between Robbie
and Cecilia – leading to Briony’s misinterpretation - and Marshall’s assault
on Lola. Nevertheless, this heat creates an overwhelming ‘effect of
suffocation’, making everything feels as if it were ‘shrinking’, which is
further emphasised by Emily Tallis’s irrational decision to serve a hot roast
dinner despite the unbearable weather: ‘She had ordered a roast for this
evening, and it would be too stifling to eat’ – illustrating how Emily, as-
well as the other high social class individuals, merely follow social
conventions and routine, prioritising structure over practicality, and hence
reflecting their detachment from reality. Moreover, Marshall’s chocolate
cocktail further intensifies this clammy, nauseating atmosphere, which,
