alternating POV’s in Dream Jungle

What is with all of these character point-of-views. I’m almost finding this book to be as confusing as The Female Man with the perspective always shifting to another character. It’s not so bad when the title of the section is the character’s name of who’s point-of-view the chapter is written in, but it’s very confusing, at least for me, when it’s not specified, especially since sometimes the chapters are written in a character’s POV in first person and other times in 3rd.

I’m wondering if this method of having so many different POV’s and switching them so often has anything to do with what we talked about in class on Tuesday. We were talking about how Docherty said that all postmodern novels have characters in which readers can never obtain their “essence” or they never realize themselves in the story, or whatever definition we decided to use for “essence”. I think this does hold true for Dream Jungle, but I don’t know if Hagedom meant for it to be that way. She does a good job of describing scenes and bringing a reader into the setting an the action, but as far as keeping up with the characters, I am finding it to be difficult. I think the switching of the perspectives is also confusing the plot a little for me as well, though it might be a bit confusing otherwise since there are two stories going on that aren’t completely connecting yet for me.

I haven’t read ahead of Thursday’s reading so maybe I will be less confused once I do, but I know that I’m having trouble getting into to these novels with so many different, alternating POV’s. I’m wondering if that’s a trait of the majority of postmodern novels. Before reading the last two or three novels we’ve read for class, I wouldn’t say it is, but now I’m thinking that it might be. Which is annoying. For me.


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One thought on “alternating POV’s in Dream Jungle”


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    Professor Sample says:

    I’ve had many other students find the shifting POVs in Dream Jungle confusing. I’d hazard to say that Hagedorn is doing this intentionally. Her reason, I imagine, is not so much a hostility toward her readers as a desire to convey and reenact the complexity and inscrutability of life. This would link to a larger postmodern project of casting doubt upon “master narratives” — single, unifying and often teleological narrative lines that postmodern writers (and readers) find suspect.

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