This technique enables Findley to intersperse his fictional account with grim and telling statistics about the war itself, though, in fact, the greater part of the book is a conventional third-person narrative, a novel, telling the story of its central character more or less straightforwardly as countless novels have done and will no doubt continue to do. But does the story of Robert Ross match, or add to, or make even more dire, the tragedy of which he is a tiny (though not necessarily insignificant) part? At best, it seems to only fitfully: there's frequently such a sense of strain in the telling of his tale that the insertion of those cold statistics from the greater drama makes his own biography seem forced and
This technique enables Findley to intersperse his fictional account with grim and telling statistics about the war itself, though, in fact, the greater part of the book is a conventional third-person narrative, a novel, telling the story of its central character more or less straightforwardly as countless novels have done and will no doubt continue to do. But does the story of Robert Ross match, or add to, or make even more dire, the tragedy of which he is a tiny (though not necessarily insignificant) part? At best, it seems to only fitfully: there's frequently such a sense of strain in the telling of his tale that the insertion of those cold statistics from the greater drama makes his own biography seem forced and