Paul Marshall & Lola as Criminals

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Criminals in Atonement - Paul Marshall

Paul Marshall is the true criminal in Atonement, although he evades all responsibility for his crimes.

Marshall's perspective: the dream

McEwan keeps Marshall on the margins of the narrative. As a result, he is a rather shadowy character.
We only see from his perspective in one brief moment (his waking from a dream on p60) but this is enough to make him appear a rather suspect, and possibly dangerous, character.
The narrative describes how Marshall awoke in a state of sexual excitement (“uncomfortably aroused”) from a dream involving his four young sisters.

Marshall's perspective

Immediately after this, Marshall begins to ‘groom’ Lola, complimenting her on her clothes and telling her that she reminds him of his “favourite sister” (p61), a remark which carries uncomfortably sexual overtones when we recall his dream on the previous page.

Marshall's sexualised language

Marshall’s sexual urges are also shown at the end of Chapter 5.
He gives Lola one of his chocolate Amo bars, using it to indulge in some inappropriately sexualised language (“You’ve got to bite it” p62).

Marshall's pleasure watching Lola

There is a clear suggestion that Marshall takes a voyeuristic pleasure in watching Lola eat the Amo bar (he is described as “watching her closely”) with his excitement suggested by his “deep breath” and he way he “crossed and uncrossed his legs”.
Above all, Marshall seems to enjoy the element of control over Lola, shown by the commands he gives her (“Bite it”).

Other crime: profiting from war

As well as the (probable) rape of a minor, and allowing an innocent man to go to prison, Marshall is guilty of other moral crimes.
- His Amo bars become a part of the standard-issue rations for every British soldier, something which makes him enormously wealthy when World War 2 breaks out and general conscription is introduced. The brief reference to the remains of an Amo bar in Briony’s hospital is a bitter reminder of how Marshall profits from the unimaginable suffering of others.

Criminals in Atonement - Briony

Atonement devotes much more time to the causes and consequences of Briony’s crime of accusing Robbie of being Lola’s rapist.

Complexities: Briony's motives

The motives behind Briony’s false accusation are complex.
Our knowledge that the entire narrative has been shaped by Briony as ‘author’ further complicates our understanding of her behaviour.

"Busy, priggish conceited"

The older Briony’s description of her 13-year-old self as “that busy, priggish, conceited little girl” (p367) suggests that she sees her crime as stemming from a need to impose an order (or story) on events, a childish naivety around sex and a desire to be the centre of attention.

Changing view of Robbie

Part One of the novel certainly makes the case for each of these factors.
We see Briony’s perception of Robbie gradually change from hero (the figures of the “humble woodcutter” and “medical prince” are almost certainly based on Robbie) to “maniac” due to a series of tragic misinterpretations.

Briony's possible dishonesty

But Briony as author may not be completely honest with us.
She discounts Robbie’s “theory” that her accusation against him has its roots in her infatuation with him and her feelings of rejection when she sees his relationship with Cecilia develop.
Joanne Watkiss has suggested that Briony’s crime stems from “her repressed desires, in particular her love for her sister’s lover, Robbie” (The Trials of Briony: Gothic Desire in Ian McEwan’s ‘Atonement’, 2016)

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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