This contrast is also present during their rehearsal- Mark is more idealistic and self determined as he rails against the injustice of the court system, while Fiona appears more resigned and only cares about the music #laylit18
McEwan uses irony to emphasize Fiona’s emotions at the concert: while the performance occurs as Mark is finding love, Fiona is facing the death of Adam and her broken marriage #laylit18
“She realized there was much more to confront in her confused mix of feelings, but for now it was the horror of...the ludicrous and shameful transgression of professional ethics” (180) - yet again, Fiona places professional values above personal/emotional needs #laylit18
When Fiona first meets the other guests at Newcastle, McEwan presents their conversation as a paraphrased list of subjects instead of using actual dialogue- suggestive of Fiona’s boredom at this small talk #laylit18
McEwan highlights Adam’s almost inhuman characteristics - black violet eyes, a white tongue - which emphasizes his unique personality as an unusually innocent, intelligent, and religiously devoted boy #laylit18
Fiona says she’s “not ultimately influenced” by whether Adam fully understands how much he will suffer. This is somewhat in line with an existentialist view - it shouldn’t really matter in what manner Adam dies, but the fact that he does die is more important #laylit18
Fiona says Adam’s room is full of “disorienting contrasts”, which parallels Adam’s own contrasts. He’s very smart, but is (perhaps illogically) committed to dying for religion; he’s innocent but profound; he’s dying but just beginning to learn violin #laylit18
Fiona does lots of “unprofessional” things when she visits Adam, like singing along w his violin. Perhaps this meeting has moved Fiona to become more spontaneous and feeling, as when she was young #laylit18
“She belonged to the law just as some women had once been brides of Christ” (49) This comparison with religion again underscores how Fiona’s decisions can be just as removed (and possibly inconsequential) as the ordains of religion that her cases deal with #laylit18
“The Jewish girls, Rachel and Nora, must hover behind her like Christian angels and wait” (20). Why does Fiona compare the Jewish girls to something from Christianity? It seems like a strange choice. #laylit18
Do the conjoined twins parallel Fiona’s marriage? Like Matthew, Fiona cannot survive without her partner - but her partner might be better off with more independence. Mark lives if separated from his twin; her husband will be more fulfilled w an affair #laylit18
“He could either sit down or stand up” (118). As Meursault is about to die, this phrase parallel to “shoot or not shoot” and “to stay or to go” again emphasizes the futility of life #laylit18
Interesting how Camus ends the novel not with the execution-technically the appeal could still have gone through and M could have lived. I guess it serves to make Meursault’s realizations at the end hold more importance than the actual act of living/dying itself #laylit18
As Meursault is about to be sentenced all he thinks about is “the smells of summer, the part of town I loved, a certain evening sky...” - ultimately these details amount to just simple existence in the world, which is what Meursault values the most #laylit18
The lawyer wears a dark suit despite the hot weather - he values social standards above personal need. As such, he is disgusted by Meursault’s refusal to abide by convention at his mother’s funeral #laylit18
As Ch 6 nears to an end, Meursault describes the weather getting hotter and hotter - similar to how the events mount in intensity, culminating in him killing the Arab man #laylit18
The native Arabs in this novel are either reduced to servants (the nurse at the old people’s home) or miscreants (the men who attack Raymond and Raymond’s cheating mistress) - evidence of the French colonialist mindset #laylit18