Singh even held dinner parties where all the guests except Joe knew of her murderous intentions. I want to focus on a specific aspect.
An experiment in regular inspiration, writing, reviews and musings. Wednesday, 27 April Essay: Rees Cheney in Cheneyp. In fiction, linear chronology is the most common form of structure. This trend differs greatly from fiction, wherein the climax will usually occur towards the end of the story.
The hook is an interesting device: It acts as an equaliser, putting all readers on the same footing in terms of their knowledge of the true events, so that all readers have the same expectations throughout the rest of the narrative.
The hook also provides an incentive for the reader to continue reading the book. The most exciting part of the story has been presented first in hopes that the reader will not put the book down. Rees Cheney observes that: This non-fiction structure is the opposite to that of fiction: This difference arises from the fact that non-fiction tends to turn on an event; the examination of the surrounding circumstances and the psyche of the perpetrator becomes more important than the event itself.
At the time not a soul in sleeping Holcomb heard them — four shotgun blasts that, all told, ended six human lives.
But afterwards the townspeople, theretofore sufficiently unfearful of each other to seldom trouble to lock their doors, found fantasy re-creating them over and again — those sombre explosions that stimulated fires of mistrust in the glare of which many old neighbours viewed each other strangely, as strangers.
It therefore has a misleading effect on the reader. The hook is told in a third person, omniscient narrator style which is commonly found in creative non-fiction, engaging the reader by immersing them in the action.
The rest of the book however is quite dissimilar. While Garner does forewarn her reader about the nature of the book: As Suzanne Eggins observes: In the end, Garner does find a form.
Or, rather, she evolves one from the forms that characterize sic much of her creative non fiction work: She uses narrative devices to write the story of herself researching and writing the story of Joe Cinque's life and death.
The events of the crime itself: This may have been more successful if the author had chosen to write in a chronological manner in relation to the crime, switching certain court room scenes around for the benefit of the reader. Instead the events are related to the audience with reference to how the author came across them.
The character of the author becomes central to the story in this way as we are learning about the events through the eyes, the criticism and the subjective comments, of the author.
Garner uses typesetting for dramatic effect, with pauses and larger breaks to highlight certain points. Some scenes feel artificially constructed to suit the author. The scene feels more like an attempt to pull at the heartstrings of the reader one final time before ending with an innocent-looking picture of Joe and the line: Part of the reason this sits uncomfortably with the rest of the story is because the narrative focus has been on the author rather than Joe.
By following her thoughts in this way, the author is more likely to be able to enlist the reader into her way of thinking, providing a commentary throughout, giving her opinion and remarks about the events unfolding.
Were the text in a more linear fashion, chronological with the crime in question, this sort of opinionated criticism would probably have been unsuccessful. In Cold Blood is in stark contrast to this author-centric approach.
The murder of the Clutter family and the circumstances surrounding it are predominantly in a linear narrative with complete omission of the author — despite his role in the events of the time. This was a deliberate decision of the author so as not to endanger the integrity of the narrative.
This varying temporal narrative allowed the author to convey to the reader a certain understanding of the motivations of the killer as well as sympathy for the victim.
Garner herself admits that this is not the result because she has failed to interview either Anu Singh or Madhavi Rao: Suddenly I felt very tired. Here I was, back at the same old roadblock.
My fantasy of journalistic even-handedness, long buckling under the strain, gave way completely. Garner certainly makes the effort on behalf of Joe, for example talking with his ex-girlfriend Garnerpp. It is as if Garner has already made up her mind about presenting a biased view.
The way in which Garner has chosen to narrate and structure this book, including the insertion of herself into the narrative as a character, does not allow room for even-handedness in the same way that other non-fiction crime novels do.
Endnotes  Some readers may have lived during the time of the events and be familiar with what occurred, whereas other readers may not have heard of the events prior to picking up the book.Joe Cinque’s Consolation Trailer In late , Anu Singh, an attractive law student in Canberra, made plans to kill her boyfriend Joe Cinque after throwing a series of macabre farewell dinner parties.
Based on Helen Garner’s acclaimed non-fiction book Joe Cinque’s Consolation: A True Story of Death, Grief and the Law, this drama is . Based on Helen Garner’s acclaimed non-fiction book Joe Cinque’s Consolation: A True Story of Death, Grief and the Law, this drama is an engaging response to real events.
Joe Cinque's Consolation review: Little solace in death that stays a mystery Helen Garner's book was a partisan affair that sought to speak for the dead man. Garner began reporting Joe Cinque’s Consolation about five years after the release of Chez Nous, and the book is a continuation of the themes established in her films.
The communication of theme and meaning in non-fiction can be affected by the author’s narrative approach. In Joe Cinque’s Consolation by Helen Garner (Garner ), the narrative is both helped and hindered by the author’s structural choices.
Garner’s approach is examined in comparison with other non-fiction crime novels.