As the popular saying goes, "To understand everything is to forgive everything,".
Nevertheless, "Atonement" questions this notion, encouraging the reader to assume an active
role as both detective and judge, which is in line with 20th century postmodernist trends. On
one hand, McEwan depicts Briony as smug, stubborn and manipulative. However, the author
also establishes an implicit sympathy for the protagonist, who is illustrated as a victim to her
class and adolescence, and who eventually utilises her fictional prowess to do right by her
sister and Robbie. Moreover, this is effectively achieved through the use of metafiction, the
length of the parts found in the novel and the deliberate appearance of characters later in the
story.
To begin with, McEwan suggests that Briony’s crime can be attributed to her lack of
understanding due to her young age and over fertile imagination through the portrayal of this
character in Part 1. It is paramount to note that the first part of the novel is by far the longest
section, even if it is chronologically the shortest. Perhaps this is a technique employed by
McEwan, and the older Briony as she writes her novel, in order to add as much insight into
Briony’s childhood as possible and, thus, attempt to justify her crime. For instance, in the
very first sentence, Briony’s abundant inventiveness is illustrated by her “two day tempest of
composition”. Particularly, the utilisation of “tempest”, meaning a violent storm, suggests
Briony’s literary ambitions will not culminate in a favourable ending. This foreshadowing
warns the reader early on, which establishes an ominous tone that manufactures tension as
one waits for disaster to strike. Nevertheless, the reader is immediately able to sympathise
with the protagonist, as she is introduced as a young girl with an enthusiastic approach
towards her dream, who goes as far as to construct a “sales booth out of a folding screen”.
Moreover, being on the cusp of adolescence, Briony is invaded by a dastardly combination of
immaturity and misconception, leaving her in a space of liminal confusion which impedes the
Nevertheless, "Atonement" questions this notion, encouraging the reader to assume an active
role as both detective and judge, which is in line with 20th century postmodernist trends. On
one hand, McEwan depicts Briony as smug, stubborn and manipulative. However, the author
also establishes an implicit sympathy for the protagonist, who is illustrated as a victim to her
class and adolescence, and who eventually utilises her fictional prowess to do right by her
sister and Robbie. Moreover, this is effectively achieved through the use of metafiction, the
length of the parts found in the novel and the deliberate appearance of characters later in the
story.
To begin with, McEwan suggests that Briony’s crime can be attributed to her lack of
understanding due to her young age and over fertile imagination through the portrayal of this
character in Part 1. It is paramount to note that the first part of the novel is by far the longest
section, even if it is chronologically the shortest. Perhaps this is a technique employed by
McEwan, and the older Briony as she writes her novel, in order to add as much insight into
Briony’s childhood as possible and, thus, attempt to justify her crime. For instance, in the
very first sentence, Briony’s abundant inventiveness is illustrated by her “two day tempest of
composition”. Particularly, the utilisation of “tempest”, meaning a violent storm, suggests
Briony’s literary ambitions will not culminate in a favourable ending. This foreshadowing
warns the reader early on, which establishes an ominous tone that manufactures tension as
one waits for disaster to strike. Nevertheless, the reader is immediately able to sympathise
with the protagonist, as she is introduced as a young girl with an enthusiastic approach
towards her dream, who goes as far as to construct a “sales booth out of a folding screen”.
Moreover, being on the cusp of adolescence, Briony is invaded by a dastardly combination of
immaturity and misconception, leaving her in a space of liminal confusion which impedes the
