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Oh Jim's great voice rolling over the land. Oh Anna, moving rigidlyfrom house to barn so that the happiness with which she brims will notjar and spill over. Oh Mazie, hurting herself with beauty"(p.

is not a literary person; he belongs inmost cases to the lower social strata, to the common people (preciselythis is important to the author) and he brings with him oral speech."[12] Thus, through skaz or oral speech, the narrator achieves a commonidentity with the characters and can therefore serve as their representative– a spokesperson for their grievances. Conversely, it is throughliterary discourse through a
distanced perspective, metaphorical imagery, an elevated language style,etc. that the narrator achieves the ideological clarity, structure,and verbal delineation necessary to articulate the characters' grievances. This layering of voices, this movement between literary and oral narration,accounts for the narrator's capacity as a dynamic unifying and diversifyingforce in the novel.


In other cases, the oral narrative voice interruptsthe action to address directly the listener/reader:

“Perhaps it frightens you as you walk by, the travail of thetrees against the dark crouched house, the weak tipsy light in the window,the man sitting on the porch, menacing weariness riding his flesh likedespair. And you hurry along, afraid of the black forsaken streets,the crooked streets, and look no more.” (pp.

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Instead, it seems tooriginate from within the story. In addition to the oral characteristicsof syntax and direct address, the voice also contains oral intonations. The final sentence, "breathe and breathe," repeated frequently as the passagecontinues, has an ironically soothing, lulling quality that is distinctivelyoral in its reminiscence of the soothing sounds one makes to comfort achild.

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In addition to the shifting orientation between literary discourse andskaz, the narrative voice also contains embedded discourse of unobjectifiedor undramatized voices. As Bakhtin notes, speaking persons in a novelneed not necessarily be incarnated in characters.[13]
While undramatized voices populate the narrator'sdiscourse throughout the novel, nowhere are they more multiple and variedthan in the sequence describing the fate of Jim Tracy -- the young individualistwho quits his job in the sewers, believing that he can find a better job. The passage begins with quasi-direct discourse. Cast in Jim Holbrook'sspeech style, the speech reflects his resentment and envy in witnessingTracy's act: "All right for Tracy to talk, all right, he didn't havea wife and kids hangin round his neck like an anchor" (pp.


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Notes: Langston Hughes - IWS2 collin edu.
Oct 8, 2010 Five journal entries and accompanying class discussions guide students in developing a general definition of voice in poetry, and in analyzing�.

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Undramatized voices generate additional ideas forperforming the narrative discourse. For example, the orchestrationof voices in the above passage implies a choral quality that, in turn,suggests casting the narrator as a narrative chorus. A group of performerswho speak individually at times, and in unison at other times, could demonstratein performance both the individualized and collective qualities of thenarrator's speech. Other possibilities for performing embedded voicesinclude vocal recordings, music, and projections of photographs or film-footagefrom the depression-era which, if presented with the narrative speech,could enhance and extend its polyphonic quality.