FIRST MEETING WITH KELLER;
Adult Paul's narration offers an interpretation of events from a position of maturity and self awareness. As a result, events at the beginning of the lone ls, such as Paul's first meeting with Keller, are recounted with the tone of ones self-criticism. The opening rhetorical question and immediate answer in 'first impressions? Misleading, of course" established our expectations that pails experience of Keller at the novels opening will be changes by novels end, and that thus changes perspective of the maestro will be reflected in change and perspective of himself. Paul's first experience of Keller is under printed by fascination with his strangeness, depicted through a cumulative if sensory details: "d glow of his face.......pitted, sun-coarsened skin.....white linen, freshly pressed....". Contrast evoked between the european culture and crumbling old piano teacher and the vulgar, unsophisticated world of Darwin pub beyond the pub beyond the room. Paul's narrative declaration that he'd "seen nothing like him before", is supported by the distictively visual break down of the mans physical features: "migrant-height", "white , sparse, downy" hair."prince-new" and "dainty faintly ridiculous hands" Keller's hands represent his complexity; the "small and porgy" quality unattractively compared to "inflated gloves" is set against the dedicated tips of the fingers which are "manicured; the skin pale and soft and clean." whilst young paul, in his arrogance and initial dislike of Keller, jumps to conclusion about who and what he is, the questioning prompted by this initial view of Keller's hands suggests that, eve uncoconsciously, pai,detects Keller's complexity: "a pianists hand? Impossible. Too unfunny tonal, surely. Too...decorative." When Paul challenges Keller as to whether he can play Liszt with a missing finger, the maestro performs "the first of many miracles", an effortless performance that silences any doubts Paul's has reguarding...
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