Pages 328-349: Key Themes

Perspective in Pages 328-349: The Visit

Briony is anxious about visiting Cecilia, imagining it as “an interview she was preparing for, the post of beloved younger sister”.

"Imagined or ghostly persona"

Briony is curiously detached from herself, describing herself as “an imagined or ghostly persona”.
This becomes more understandable when we realise that Briony’s visit to Cecilia did not happen and is instead purely “imagined” by an older Briony.

"Unreliable witness"

Briony is described as “an unreliable witness” (p336).
Readers will wonder if she is also an unreliable narrator who cannot be trusted to give an accurate account of events. Briony insists that he has never considered herself to be a liar: “She hadn’t intended to mis-lead, she hadn’t acted out of malice” (p336).

Briony's courage?

Readers may sympathise with Briony for showing the courage to visit her sister despite her anxiety.
They will also share her “shock” at the sudden appearance of Robbie.

Briony's "memory of passion"

Teasingly, Briony remembers a “memory of a passion she’d had for him, a real crush that had lasted days” (p342), recalling Robbie’s “theory” about the reason for her false allegation against him. Briony makes light of this infatuation but yet another mention of it suggests that it may have played a part in prejudicing Briony against Robbie.

Climactic moment

The climactic moment of her visit to Cecilia’s is the admission, and revelation, that “it was Paul Marshall” (p346).

Characterisation in Pages 328-349: The Visit

The characterisation of Cecilia and Robbie is a key focus in these pages.

Cecilia's shabby house

The shabby house which Cecilia lives in suggests that severing contact with her family has affected her financially.
The room she lives in gives the initial impression of her living “a simple and lonely life” (p335).

Differences in Cecilia

Briony is alert to any differences in her sister, having not seen her in years.
Although Briony finds Cecilia “hard to read” she detects a “hardness to her tone” (p322) which suggests she is still resentful of her younger sister.
Briony also notes that time has taken a toll on her sister with her eyes betraying a sense of “fatigue” or “sorrow”.

Evidence that Robbie lives with Cecilia

The copies of Gray’s Anatomy and of Housman’s poetry are the first hints that Robbie may be living with Cecilia but his sudden entrance is as likely to “shock” readers as much as it does Briony.
Significantly, when he does enter his “gaze was on Cecilia” (p338), indicating his love for her.

Response to Briony

Robbie becomes “angry, very angry” when he realises the visitor is Briony and threatens to throw her outside.
Likewise, Cecilia becomes “agitated” when discussing Hardman and struggles to control her anger. She takes this out on Briony, telling her that she “won’t ever forgive” her (p340).

Tender moments: Robbie & Cecilia

However, we see a tender side to Robbie and Cecilia’s relationship when she is able to soothe Robbie, gently telling him to “come back…” (p343) just as she had done in her letters. The last sight we have of them together is of them walking behind Briony, “hand in hand” (p347).

Balham tube station

Briony parts from her sister outside Balham tube station, which the narrative mentions will be bombed in three months’ time.
This is the setting for Briony’s final apology. Only in the next section of the novel do we learn that Cecilia in fact dies at this location.

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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