10.1.2

Marxist Readings: Importance of Social Class

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Social Class: The Tallis Family & Robbie Turner

Social class is an important element in Atonement.

Illustrative background for Upper-middle-class corruptionIllustrative background for Upper-middle-class corruption ?? "content

Upper-middle-class corruption

  • McEwan exposes the corruption which hides behind the respectable façade of English upper-middle-class society in the years before the Second World War.
  • In Part Four (London, 1999), McEwan suggests that, over 60 years later, the rich and powerful are still able to avoid responsibility for their wrongdoings and are instead rewarded by society through its honours system.
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Robbie's view of himself

  • Through the relationship between the lower-class Robbie Turner and the upper-middle-class Tallis family, we see the tensions that lie at the heart of the English class divide.
  • Despite being the son of the Tallis’ cleaning lady, Robbie thinks of himself as someone “without social unease” thanks to a “childhood moving freely between the bungalow and the main house” (p86).
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Emily's view of Robbie

  • Moreover, Jack Tallis funds Robbie’s education, allowing him an entry into middle-class society through a profession such as medicine.
  • However, we learn that Emily Tallis does not approve of her husband’s behaviour and condescendingly dismisses Robbie as Mr Tallis’ “hobby” (p151).
  • She does not consider Robbie as an equal and considers his “elevation” in society as “unfair” to her own children, despite the privileges they enjoy.
Illustrative background for Briony's view of RobbieIllustrative background for Briony's view of Robbie ?? "content

Briony's view of Robbie

  • The Tallis children are also aware of the difference in social class between themselves and Robbie. One of Briony’s earliest stories revolves around the figure of “a humble woodcutter” (modelled on Robbie) who saves a “princess” (presumably representing Briony herself) from drowning.
  • Later, when out searching for the twins, Briony is outraged at what she sees as Robbie’s ingratitude: “They had provided for all manner of pleasant things for him, the Tallis family…” (p158).
Illustrative background for Cecilia's view of RobbieIllustrative background for Cecilia's view of Robbie ?? "content

Cecilia's view of Robbie

  • Cecilia is also conscious of the class divide between herself and Robbie.
  • She feels annoyance at Robbie “play-acting the cleaning lady’s son” (p27) in taking off his boots before entering the Tallis’ hallway and worries that she may have been “condescending” (p26) when teasing Robbie about his intention to study medicine.
  • Later, when Cecilia voices her disapproval at her brother inviting Robbie to dinner, Leon teases her by asking, “You think he can’t hold a knife and fork?”

Social Class: Characters Abusing Power & Respect for Robbie

McEwan suggests that social class may have been a factor in Robbie’s arrest and imprisonment. Grace Turners’ anguished cry of “Liars! Liars!” seems to condemn the Tallis family.

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Emily abusing status

  • Emily Tallis is described as asserting her family’s position in society by treating the police officers as “menials” (p178) and there is evidence of her influence over the police when they allow her to read Robbie’s obscene letter to Cecilia.
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Marshall abusing status

  • There is also a suspicion that Paul Marshall uses his social status to manipulate the police investigators. Briony recounts how he offers them cigarettes “from a gold case” (p175), symbolic of his wealth, and how “he patted the senior man on the shoulder and seemed to send them on their way”, almost as if, from Briony’s perspective, he was directing affairs.
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"Liars! Liars"

  • Grace Turners’ anguished cry of “Liars! Liars!” can be read as a condemnation of the Tallis family and the upper-middle-class society they represent in the way that they close ranks against Robbie.
  • Even Cecilia’s defence of Robbie, her claim that the police should be interrogating Danny Hardman, perhaps also reveals an element of class prejudice in its assumption that the lower classes are more likely to behave in a criminal manner.
Illustrative background for Signifiance of Lord & Lady MarshallIllustrative background for Signifiance of Lord & Lady Marshall ?? "content

Signifiance of Lord & Lady Marshall

  • Paul Marshall’s and Lola’s elevation to Lord and Lady Marshall shows how even a more contemporary Britain is still dominated by class, with the wealthy able to ‘buy’ prestige and honour through patronage and charitable work.
  • The Marshall’s great fortune also enables them to suppress the truth: Briony is resigned to never being able to publish her novel in her own lifetime due to the fact that the Marshalls would take legal action to prevent publication.
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Mace & Nettle's respect

  • In Part Two, both Mace and Nettle look up to Robbie despite their outranking him as corporals because of his education and leadership qualities.
  • We also see evidence of British soldiers’ defiance of rank and class which foreshadows the societal changes in Britain post-1945 where the implementation of a national health service, and the expansion of education and housing led to reduced inequality.

Jump to other topics

1Introduction to Atonement

1.1Introduction & Background to Atonement

1.1.1Background to the Author - Ian McEwan

1.1.2Settings & Historical Context of Atonement

1.1.3Social Issues Raised in Atonement

1.2Focus of Your Exam: Crime Texts

1.2.1Atonement as a Crime Text

2Chapter Summaries & Analysis: Part One

2.1Chapter 1

2.1.1Chapter 1: Key Events

2.1.2Chapter 1: Key Themes

2.2Chapter 2

2.2.1Chapter 2: Key Events

2.2.2Chapter 2: Key Themes

2.3Chapter 3

2.3.1Chapter 3: Key Events

2.3.2Chapter 3: Key Themes

2.4Chapter 4

2.4.1Chapter 4: Key Events

2.4.2Chapter 4: Key Themes

2.5Chapter 5

2.5.1Chapter 5: Key Events

2.5.2Chapter 5: Key Themes

2.6Chapter 6

2.6.1Chapter 6: Key Events & Themes

2.7Chapter 7

2.7.1Chapter 7: Key Events

2.7.2Chapter 7: Key Themes

2.8Chapter 8

2.8.1Chapter 8: Key Events

2.8.2Chapter 8: Key Themes

2.9Chapter 9

2.9.1Chapter 9: Key Events

2.9.2Chapter 9: Key Themes

2.10Chapter 10

2.10.1Chapter 10: Key Events

2.10.2Chapter 10: Key Themes

2.11Chapter 11

2.11.1Chapter 11: Key Events

2.11.2Chapter 11: Key Themes

2.12Chapter 12

2.12.1Chapter 12: Key Events

2.12.2Chapter 12: Key Themes

2.13Chapter 13

2.13.1Chapter 13: Key Events

2.13.2Chapter 13: Key Themes

2.14Chapter 14

2.14.1Chapter 14: Key Events

2.14.2Chapter 14: Key Themes

3Chapter Summaries & Analysis: Part Two

3.1Pages 191-201: To the Farmhouse

3.1.1Pages 191-201: Key Events

3.1.2Pages 191-201: Key Themes

3.2Pages 202-213: The Night in the Barn

3.2.1Pages 202-213: Key Events

3.2.2Pages 202-213: Key Themes

3.3Pages 214-226: The Attack

3.3.1Pages 214-226: Key Events

3.3.2Pages 214-226: Key Themes

3.4Pages 226-234: Robbie's Reflections

3.4.1Pages 226-234: Key Events

3.4.2Pages 226-234: Key Themes

3.5Pages 234-246: To the Bridge over the Canal

3.5.1Pages 234-246: Key Events

3.5.2Pages 234-246: Key Themes

3.6Pages 246-254: Arrival at Dunkirk

3.6.1Pages 246-254: Key Events

3.6.2Pages 246-254: Key Themes

3.7Pages 254-265: To the Cellar

3.7.1Pages 254-265: Key Events

3.7.2Pages 254-265: Key Themes

4Chapter Summaries & Analysis: Part Three

4.1Pages 269-277: London, 1940

4.1.1Pages 269-277: Key Events

4.1.2Pages 269-277: Key Themes

4.2Pages 277-286: Briony as Writer

4.2.1Pages 277-286: Key Events

4.2.2Pages 277-286: Key Themes

4.3Pages 287-315: Victims of War

4.3.1Pages 287-315: Key Events

4.3.2Pages 287-315: Key Themes

4.4Pages 315-327: Lola & Paul Marshall’s Wedding

4.4.1Pages 315-327: Key Events

4.4.2Pages 315-327: Key Themes

4.5Pages 328-349: The Visit

4.5.1Pages 328-349: Key Events

4.5.2Pages 328-349: Key Themes

5Chapter Summaries & Analysis: Part Four

5.1Epilogue: London, 1999 - Pages 353-371

5.1.1Pages 353-371: Key Events

5.1.2Pages 353-371: Key Themes

6Key Character Profiles

6.1Briony Tallis

6.1.1Overview of Briony's Character

6.1.2Briony in Part One

6.1.3Briony in Part Three & Four

6.2Robbie Turner

6.2.1Overview of Robbie's Character

6.2.2Robbie in Part One

6.2.3Robbie in Part Two & Three

6.3Cecilia Tallis

6.3.1Cecilia in Part One

6.3.2Cecilia in Part Three

6.4Lola Quincey

6.4.1Overview of Lola Quincey

6.4.2Lola Relationship with Marshall

6.5Paul Marshall

6.5.1Overview of Paul Marshall

6.5.2Paul Marshall's Relationship with Lola

6.5.3Paul Marshall's Power

6.6Emily Tallis

6.6.1Overview of Emily Tallis

6.6.2Emily Tallis' Character

7Key Themes

7.1Introduction to Crime Texts

7.1.1Common Themes in Crime Texts

7.2Crimes in Atonement

7.2.1Crimes in Atonement

7.2.2Structural Patterning & Ambiguity in Crime Texts

7.3Criminals in Atonement

7.3.1Paul Marshall & Lola as Criminals

7.3.2Narrative Point of View in Crime Texts

7.4Victims in Atonement

7.4.1Lola, Robbie & Cecilia as Victims

7.4.2Females Victims & Social Class in Crime Texts

7.5Detection in Atonement

7.5.1Detection in Atonement

7.5.2Detection in Crime Texts

7.6Settings in Atonement

7.6.1Settings in Atonement

7.6.2Symbolism of Settings in Crime Texts

7.7Guilt & Punishment in Atonement

7.7.1Marshall & Briony Escaping Punishment

7.7.2Guilt & Punishment in Crime Texts

8Writing Techniques

8.1Structure

8.1.1Overview of Structure

8.1.2Metanarrative, Circular Structure & Ending

8.1.3Manipulation of Time

8.2Form

8.2.1Narrative Perspective

8.2.2Genre

8.3Symbols & Motifs

8.3.1Symbolism of the Vase & Amo Bar

8.4Language

8.4.1Focalising Through Briony & Robbie

9Context

9.1Historical Context

9.1.1The Summer of 1935

9.1.2Dunkirk, 1940

9.1.3London, 1940

9.2Social Context

9.2.1Social Class

9.2.2The Role of Women in the 1930/40s

9.3Literary Context

9.3.1Literary Genres & Atonement

10Critical Debates

10.1Marxist Literary Criticism

10.1.1Introduction to Marxist Literary Criticism

10.1.2Marxist Readings: Importance of Social Class

10.1.3Marxist Reading: Capitalist Exploitation & War

10.2Feminist Literary Criticism

10.2.1Introduction to Feminist Literary Criticism

10.2.2Feminist Readings: Gender Roles & Stereotypes

10.2.3Feminist Readings: Marriage & Family

10.2.4Feminist Readings: Male & Female Sexuality

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Introduction to Marxist Literary Criticism

Marxist Reading: Capitalist Exploitation & War