Realism In Peeling And Crabs

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According to Scottish novelist and poet Robert Louis Stevenson, “Life is monstrous, infinite, illogical abrupt and poignant… a work of (realist) art in comparison is neat, finite, self-contained, natural, flowing and emasculate.” Peter Carey in his short stories does not attempt to finitely box in life through his writing as suggested by Stevenson, but utilises and departs from the realist mode in order to make specific comments and critique society. Realism is most simply a literary framework, and does not stand solely on its own. It encompasses numerous literary modes, which is clearly evident in Carey’s short stories. Both “Peeling” and “Crabs” begin with sense of “verisimilitude” defined by the Concise Oxford Dictionary as “the appearance or semblance of truth or reality; quality of seeming true.” Both short stories have great tension foreshadowing to the reader the departure from the realist mode into a nightmarish realm, which allows Carey to produce a social critique in his work. Carey in “Peeling” blurs the lines completely for the reader as to where reality ends and where the fantastical nightmare begins, utilising and departing from the realist mode. Written in the first person from the perspective of an elderly man, the story depicts his odd relationship with Nile, a relatively young woman who turns out to be an abortionist who becomes a victim to his unwanted sexual advances. The beginning of the short story makes distinct references to London and the weather including the “fog” giving the reader a sense of verisimilitude. Lauren Klauser in her dissertation states that: “The fog, described as a weather condition typical of London and mentioned repeatedly throughout the story, contributes to the realistic setting. Thi... ... middle of paper ... ...ist ideals. Crabs is unable to find the parts to fix his car, so in order to leave the prison like drive in, he must “become a motor vehicle in good health.” The sudden change and ambiguous section of the story begins, displaying to the reader the departing from the realist mode. Carey asks the audience to reassess what is real and what is not, the world they think they know and the world he creates. This is how he delivers his underlying messages and critiques of society. Crabs attempts to find freedom and leave the drive through by turning into a car, but on his drive discovers no other forms of life. He is drawn to “the only lights in the world” which is where he realise he is right back at the “Star Drive-in Theatre.” Carey through his use and departure from the realist mode in “Crabs” is able to ask the reader to consider the cost of seizing your own freedom.

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