In Joseph Hellers Catch-22 and Ian McEwans The Atonement, there are several common tones between some(prenominal) works, which add to the emotional weight of the prevails, and help to create a compelling story. While not the only tones within each(prenominal) piece, three of the common tones are: a sombre mood, an untoward foreboding, and detached horror. The expressions these tones are established and maintained differ, cod in part to the authors style, and the form of prose fiction that they are.
Ian McEwans The Atonement, a confession-styled book revolving around a young girl, Briony, whose false accusations lead to the ultimate death of her sister, Cecilia, and her sisters lover, Robbie Turner, is steeped in sorrow for much of the work. She feels great vice for her actions:
Her memories of the interrogation and signed statements and testimony, or of her awe outside the courtroom from which her youth excluded her, would not trouble her so much in the years to come as her fragmented recollection of that after-hours night and summer dawn. How guilt refined the methods of self-torture, threading the beads of exposit into an eternal loop, a rosary to be fingers for a lifetime.
(McEwan 173)
        This build of past-tense regret is common to confessional works, as she is returning in reminiscence to the point where her crime was greatest.
She bears this weight by means ofout the book, from part way through Part One, until the very give up of the book. Her actions echo through the rest of the work, and create all the plot points that follow. It is revealed at the end of the book that The Atonement is actually a work write by Briony Tallis, wherein she creates a fantasy that Cecilia and Robbie live jubilantly ever after, when in fact they are killed as...
I liked your compare of the works of Heller and McEwan, but would have liked it even out more had you provided a bibliography.
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