On frames within frames as a storytelling technique in “Diaboliques” by Jules Barbey d’Aurevilly.
Perhaps I am mistaken, but it seems to me that if you saw Hell through a small window, it would be far more horrific than if you were able to see the place in its entirety.
—Jules Barbey d’Aurevilly, Diaboliques (translated by Raymond N. MacKenzie)
Boundaries are meaningful when exceptions plant flags on faraway summits.
Conventions love to hate those who break them.
The don’t do that, begs for the what if I do do?
Such questioning of authoritative admonishment leads to the fall of Satan in Milton’s Paradise, to the Faustian deal with the devil, to murder mysteries, to class-breakers like Gatsby, principled men like Atticus Finch, alienated teenagers like Caulfield, contrarian patients like McMurphy, and in general any tension that falls under the I won’t take out the trash because you insist that I do so.
Space sagas defy scientific barriers; the absurdity of Kafka defies reason.
Even walls that protect from valid harm—no matter how noble their cause—inevitably invite curiosity: some want to peek over, some want to vault over. Imagination allows us to do so multiple times, in multiple ways, and still wake up in our own beds, warm. Imagination leads to written fiction, and fiction thrives on probing the transgression: either how it was done or why.
This is why there exist whole literary movements built on investigations of taboos. The merits of reading such fantasies are myriad, from gaining historical and cultural context, to understanding existential issues, to merely expanding your perception of the human condition. For those of us who care about the storytelling technique, such texts exhibit a number of methods for addressing tender topics, eliciting either disgust or empathy, and skirting the sensitivities associated with the “fallen”.
Also fiction can be read because: fun, exposure, and yes, curiosity.
Continue reading “Diabolical Framings”