Research on Unreliable Narration of Love Writing in “The Bear Came over the Mountain” PDF Free Download
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Journal of Literature and Art Studies, September 2023, Vol. 13, No. 9, 635-642
doi: 10.17265/2159-5836/2023.09.002
Research on Unreliable Narration of Love Writing in
“The Bear Came over the Mountain”
ZHOU Jing-wen
University of Shanghai for Science and Technology, Shanghai, China
Alice Munro, a famous Canadian Canadian short-story writer. She gained the Nobel Prize for Literature in 2013.
Munro’s works focus on women and adolescents. She also writes about the illness and love of the elderly. “The
Bear Came over the Mountain” is one of them. In this story, Munro adopts unreliable narration to depict love
between Grant and Fiona. This paper aims to study the love writing and its unreliable narration in this story.
Based on the text of love writing, this paper analyzes the specific strategies of unreliable narration. The author
believes that the unreliable narration of the love text in the story can be divided into the unreliable narration of
character type and information type. Through analysis of these two types of narration in the story, special
meaning of unreliable narration to describe love can be found. Besides, Munro’s description also contains her
own insight of love: the course of true love does not always run smooth.
Keywords: Alice Munro, unreliable narration, love
Introduction
Alice Munro, original name Alice Ann Laidlaw, Canadian short-story writer who gained international
recognition with her exquisitely drawn narratives. The Swedish Academy dubbed her a “master of the
contemporary short story” when it awarded her the Nobel Prize for Literature in 2013. Munro’s work was noted
for its precise imagery and narrative style, which is at once lyrical, compelling, economical, and intense,
revealing the depth and complexities in the emotional lives of everyday people. Munro’s short story “The Bear
Came over the Mountain” was first published in The New Yorker magazine in 1999, then selected into her
collection of short stories Hateship, Friendship, Courtship, Loveship, Marriage. In “The Bear Came over the
Mountain”, Munro makes a profound exploration of human nature and explores the reactions of the elderly and
their spouses to aging and disease by describing the emotional life of the Grants. Munro’s understanding of
love in this story is more like: no matter how many people Grant loves, Grant finally chooses Fiona. However,
the author of this paper believes that Munro’s description agrees with “Grant’s view of Fiona accommodates
irony, renders her behaviour meaningful”, and Grant is “prone to passionate breaks in his consciousness”
(Goldman & Powell, 2015, p. 87), which generates unreliable narration, so unreliable narration in this short
story is the way to presenting irony.
ZHOU Jing-wen, Master’s degree, Department of Foreign Language, University of Shanghai for Science and Technology,
Shanghai, China.
DAVID PUBLISHING
D
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Although “The Bear Came over the Mountain” is a short story, it has raised several scholars’ attention
onto this work. Using limited resources to search for literary critical papers of “The Bear Came over the
Mountain” from databases such as Google Scholar, Sci-Hub and CNKI, several essays are available. However,
the results turn out that foreign and domestic studies dedicated to “The Bear Came over the Mountain” are both
relatively sparse and unsystematic. This paper argues that research perspectives can be broadly divided into the
following.
To begin with, text and textuality research. Ventura sought to find connections between “The Bear
Came over the Mountain” and traditional literary paradigms. “Her reenactment of Calderon and Shakespeare’s
Life is but a Dream results in more than a well-wrought short story” (Ventura, 2010, p. 8).
Secondly, the analysis of emotional humanity of this work. The studies of human nature in the work are
relatively numerous. Maji believed that “The Bear Came over the Mountain” contains “her valuable insights
into human nature and the complexities” (Maji, 2017, p. 55). In Wei and Tang’s analysis, “Munro depicts love
incisively as it is, complicated and ever-changing, never arriving at a certain conclusion” (Wei & Tang, 2015, p.
40). Some scholars have combined film and texts for interpretation. Goldman and Powell traced the Munro’s
texts and Polley’s filmic adaption Away from Her, analyzing the fraught relationship between memory and
passions. Casadogual pointed out that this story and filmic adaption “will ultimately enable a better
comprehension of late-life sentimental journeys and some of their possible unexpected turns” (Casadogual,
2015, p. 391). Some scholars have studied this story from psychoanalytic and pathological perspectives.
Chowdhury described the work as “a story of love and psychological disorientation” (Chowdhury, 2013, p.
103).
Besides, the comprehensive study of the work. Fan analyzed the story from multiple dimensions:
Canadianness and national identity formation, eco-feminism, Christian spirit of love and redemption.
The above essays mentioned are all selected from relatively authoritative journals or dissertations because
this paper believes that they are more valuable for research. To conclude, most of researches emphasize on the
humanity of characters in “Bear Come over the Mountain”, and the research methods are different. This paper
also tries to explore the humanity in the story, but it is accurate to the love writing in the work. The author of
this paper aims to analyze love writing in the work and the implied Munro’s sense of love from the artistic
technique of unreliable narration.
What is the exact meaning and essence of unreliable narration, public opinions are divergent. So this paper
will adopt Wayne C. Booth and James Phelan’s concepts of unreliable narration, which are generally accepted
in academia. Booth believes that the reliability of narration should be evaluated by reference to the norms of
works, and he focuses on two types of unreliable narration. One involves story facts, and the other involves
value judgment. James further develops Booth’s theory. He adds the perceptive approach and develops six
sub-types. Overall, this paper does not intend to discuss what is unreliable narration, but hopes to use unreliable
narration to excavate love writing in “The Bear Came over the Mountain”.
Love Writing in the Story
Love seems to be an inevitable topic in human life. In the literary context, it is regarded as a “imaginative”
expression. Writing and speaking of love is not only an unavoidable “discourse” for writers, but also the
RESEARCH ON UNRELIABLE NARRATION OF LOVE WRITING IN “THE BEAR CAME OVER THE MOUNTAIN”
637
approach they consciously desire. Alice Munro is one of the writers who consciously wrote about love. Her
works are full of love characters. For Munro, love is not only an “imagination”, but also a “reality” she has
keenly touched from real life. Good love makes people happy and grow up, but there are also complex
problems in some love relationships, such as polygonal relationships, abusive behaviors, jealousy and control,
etc. However, love in “The Bear Came over the Mountain” is unusual. Two protagonists—Fiona and Grant,
they are in a dynamic balance of love, whose love contains sincerity and hypocrisy. In love writing, truth and
possibility are to be explored.
The Type of Love in the Story
Grant, a retired teacher, and his wife Fiona have lived together for 44 years, and they have been living a
peaceful and comfortable life. However, Fiona suffers from Alzheimer’s disease, and her memory begins to
decline, becoming more and more serious. She begins to put the frying pan into the refrigerator instead of the
cupboard. She begins to forget when she moved to the cabin. She even forgets to go home. Grant could only
take it lightly in the face of Fiona’s strange behavior in her life. Even if it is a joke by Fiona, Grant shows a
helpless wry smile. After Fiona decided to live in the sanatorium, Grant seems to see hope, and this uncertain
hope brings Grant a little psychological comfort and endless worry about the future. However, there is a rule
that “nobody could be admitted to Meadowlake during the month of December” (Munro, 2000, p. 112). People
really feel so lonely, especially when they can’t see the people they care about. Grant thinks so after leaving
Fiona. Loneliness is really a monster. It can make two people who once loved each other become strangers, and
it can also make people who didn’t know each other before become lovers.
Grant is a sober old man and a man who cheated on his wife when he was young. When his wife is ill and
moves into the sanatorium and falls in love with others, his mood goes through a very complex stage: from the
previous shock, sadness, and rejection, to the middle of doubt, helplessness, regret, and despair, to the final
distance, and happiness. His mood and love are hidden under his calm and deep eyes and appearance, and his
love is deep and helpless. When his wife falls in love with others, he remembers what his wife had said to him
before she moved into the sanatorium, and thinks that she might be punishing him for his mistakes when he
was young. But Grant is also very angry sometimes. The scene of Fiona and Aubrey taking care of each other
in front of him makes him unable to control himself to try to wake Fiona, but in return, Fiona begs to let her go.
He becomes more helpless and desperate. In desperation, he and Aubrey’s wife Marian comfort each other.
Fiona is a beautiful and elegant lady. Actually, Fiona first proposes to marry Grant. As is stated, “Do you
think it would be fun if we got married?”, Fiona is very enthusiastic. Outwardly, Fiona and Grant’s love is like
“the spark of like” (Munro, 2000, p. 110). Fiona, such a well-educated and cultivated lady then suffers from
such a disease in her old age. However, during her illness, she still maintains good self-cultivation, elegant
behavior, and considerate. Even when Grant goes to “make trouble”, she does not blame Grant, but says in a
pathetic begging tone to ask him not to do so.
During the many exchanges between Grant and Marian, the old people who are not happy with both
families naturally have feelings, but at the end, Fiona has forgotten Aubrey and remembers Grant. In their
affectionate embrace, everything seems to return to the past.
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Imagination, Reality and Love Writing
By looking back at the truth in writing love, Munro tries to peel off the stable life interpretation from the
reality, looking for another possibility in the imprint of individual survival. Munro has the ability to deeply
understand the essence of life, whether it is to write about the life, old age, illness and death of ordinary people
in ordinary life, or to use imagery to metaphorically convey the possibility of a certain connection in life. Her
“love” often shows a powerful and amazing mysterious force. In “The Bear Came over the Mountain”, Munro
sets up a narrator who stays out of the way. Through a comparative interpretation of love, the narrators imagine
that they connect with single-minded feelings, but the fact is mutual betrayal.
Alice Munro’s novel creation has always been on the edge of “imagination” and “reality”. Munro
mentions “imaginative” Iceland many times in the work. However, Munro always portrays Fiona’s negative
feelings towards Iceland. In this situation, Grant still sends a book about Iceland to Fiona, which shows a
paradox of true love. Of course, Munro not only displays the imagination, but also reflects the broad
Canadianness. Canada is the northernmost country, and its northern geographical factors have formed its cold,
vast and lonely geographical characteristics. “The Bear Came over the Mountain” shows this geographical
feature. The story is set in the snow-covered, beautiful and harsh Canadian winter scenery, and aging is the
inevitable winter in every life. The Canadian winter symbolizes the severity of old birth, aging, illness and
death, and also makes the reader connect the bleak Canadian winter scene with the bleak desolation naturally.
Grant for the first time to the grass lake nursing home to visit Fiona, Munro describes the winter scene on the
road: Plenty of snow was left, but the dazzling hard landscape of earlier winter had crumbled (Munro, 2000, p.
115). Through the description of the cold winter scene, the old Grant’s sad and dim mood appears on the paper,
producing the reading effect of the characteristics of Canadian geographical environment.
Unreliable Narration in Love Texts of the Story
The “love” in the text is the “truth” constructed by Munro’s imagination. When love becomes a part of the
story as an event, researchers not only need to explore the basic connotation of the love plot, but more
importantly to move from “event” to “narration”, and explore the special effect of this way of speaking on the
display of the text from how to speak of love. Each writer has his own unique way of speaking. For love,
different ways of narration affect the specific form of its content. Studying Munro’s narration of “love text” is
to explore the uniqueness of Munro’s writing of love. From the interpretation of Munro’s story, the author
found that the concept of unreliable narration in Munro’s love writing originated from the American rhetorician
Wayne C. Booth, who mentions the reliability of the narrator in The Rhetoric of Fiction: “For lack of better
terms, I have called a narrator reliable when he speaks for or acts in accordance with the norms of the work
(which is to say, the implied author’s norms), unreliable when he does not” (Booth, 1983, p. 158). This has
aroused widespread concern in the field of narration. The positioning of unreliable narration has gradually
expanded from the perspective of Booth’s initial “narrative distance” to multiple categories of narratology.
Since then, the discussion of unreliable narration has formed two major branches: rhetoric school and cognitive
school. On the question of which standard to define unreliable narration, James Phelan, a representative figure
of the Rhetoric School, believes that the “implied author” is the yardstick for judging unreliable narration,
which is widely recognized. Among cognitive narrators, the criterion of unreliable evaluation has shifted from
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“implied author” to “reader”. It does not exist in the comparison of the ideological norms of the implied author,
but presents several differences with the interpretation of the reader. The theoretical basis of rhetoric and
cognitive school provides a complex and broad theoretical space for unreliable narration. When sorting out the
theories of unreliable narration, this paper mentions that unreliable narration does not only exist in the text
which is mainly about explicit narrator. In the invisible narration, when the characters in the text also
participate in the narration, the subject problem will become particularly complex. In the story text, the narrator
can use the “self-limiting” means to create a subjective consciousness that is not consistent with his own
perception and observation point, which produces conflicting and unreliable narrative effects in the process. In
addition, the narrator deliberately distorts the facts through the delay and omission of the text information, and
forms a vague and ambiguous expression of will through the dialogue and disassembly between different
discourses. These are concrete manifestations of unreliable narration.
Unreliable Narration from Character
Character unreliable narration is one of the common types of unreliable narration in modern novels. In Booth’s
initial definition of unreliable narrators, unreliable narrators are mainly people with cognitive or moral defects. He
believes that narrators can be unreliable only if they are dramatized. However, unreliable narration is not limited to
the first person narrator. In the invisible narration, the author can also show the personality defects of the
perspective characters through the limited perspective of the characters. The perspective characters are not the
competition between two discourse subjects (narrators and characters), but the wonderful combination between the
“speaking” subject and the “seeing” subject. The unreliable narration of the perspective characters will also show
different roles due to the different narrative methods of the perspective in the novel text. If the perspective is
divided into four categories: omniscient, protagonist, secondary character, and non-narrative observer, then in the
omniscient perspective, due to the diversity and randomness of the character’s perspective conversion, the
probability of its unreliable perspective is particularly high. In his omniscient narration, the omniscient narrator can
enter the character’s perspective through “self-limitation” at any time, and the consciousness center of the
perspective can be switched at will, so the subject boundary between the “speaker” and multiple “viewers”
becomes more blurred, thus increasing the possibility of unreliable.
In “The Bear Came over the Mountain”, the invisible narrator uses an omniscient perspective. In the
transformation of time and space, it focuses on the characters like the lens switching method. In the
self-limiting lens of Fiona, Grant and Marian, it shows the different surface and deep consciousness of each
character, and forms a contrast in the characters’ perspectives. In the text, it is obvious that the content of the
perspective of Grant is more. At the beginning of the text, Grant “wanted never to be away from” (Munro, 2000,
p. 110). Fiona, which makes readers think their love is reliable. Then, Munro depicts that Grant is not so loyal
to their relationship through his dream. Actually, Grant’s dream is the truth of the past. Grant regards his
unfaithfulness as the salvation of young girls, which saves them from the boring life. However, in the following,
the invisible narrator proposes a problem—“But would it have been better if he had done as others had done
with their wives, and left her?” (Munro, 2000, p. 114). It seems that derailed Grant has his rationality. Also,
Grant thinks he “had never stopped making love to Fiona” and he “had not stayed away from her for a single
night” (Munro, 2000, p. 114). Through Grant’s perspective narration, Grant thinks he is a qualified husband,
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but other narrative aspects are constantly deconstructing it. Just as mentioned below, Grant’s words are
deliberately justified and untrue. Grant’s personal feelings and the reality make readers question his true
emotional attitudes, so they could not reach “empathy” with them. The implied author did not incline to the
values and attitudes he held, thus exposing the unreliable narration of Grant’s perspective.
Unreliable Narration from Information
Usually, when studying unreliable narration, the focus will fall on the character narrator. When the
narrator’s own defects lead to the existence of different value norms from the implied author in the process of
narration, it can be regarded as unreliable narration. But in fact, unreliable narration is extremely extensive in
the actual literary application. Informational unreliable narration is different from the character unreliable
narration. There is no “abnormal” character that can be clearly identified in it. The focus is not on the
characterization of the character, but on the special treatment of the narrative information to achieve the effect
of unreliable narration. There are many ways to deal with information, such as enriching the deep meaning of
information through image symbols; Detaining the narrative information by suspending; Constructing the
nested narration by the bystander narration; Transforming the objective narration through “narrative” approach.
The core of information-based unreliable narration is to complicate the transmission of narrative information.
The transmission of narrative information in “The Bear Came over the Mountain” is mainly concentrated
on the narrator himself. “Memory” is the entrance for the narrator to connect the present and the past two points
in time. The fracture attribute of “memory” itself determines that the narrative information will inevitably
produce a broken and unreliable feature after “memory” processing. The narrator in the text reconstructs and
interprets the information by means of “recollection”. Only when the reader restores the “base” in the narrative
fragments can he clearly see the intention and essence of the narrator. The unreliable identification of narrative
information in the text is embodied in the following two aspects: omission and suspension of information. The
ambiguity of information transmission provides readers with multi-dimensional imagination space. It distorts
the facts by narrating the characters and events, and misleads readers.
In the text, Grant did not narrate events and characters in an objective way, but fully integrated her
subjective feelings and understanding of events and characters. Here, narration is no longer simply a
reproduction of the content of the original, but to a greater extent, it has gone through the narrator’s own
“narration”—a “plot” of the empirical facts into a whole of internal meaning, and then it is shown to the reader.
When summarizing the functions and responsibilities of the narrators in the narrative works, Phelan believes
that the narrator mainly serves three functions: (1) reporting facts and events; (2) explaining or interpreting the
reported facts and events; (3) evaluation or understanding of the reported facts and events. Along these three
communication axes, different types of unreliable narration can be generated. The main narrator Grant in the
text bears the function and responsibility of telling the story to the reader, but this narrator cannot escape from
the paradox of “being told” when “speaking to others”, so the narrator’s interpretation and recognition of the
information carry subjective impression when telling the story to readers. In the latter half of the story, Grant
comments that Marian has “a woman’s natural sexual jealousy” and “resentment” (Munro, 2000, p. 125), but
finally he decides to stay with Marian. This shows that the narrator deliberately processes the event, so that the
event takes on an uncertain and unpredictable shape at different nodes. However, the plot direction of the story
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actually reveals the truth behind the narration and the true intention of the narrator, and exposes the unreliable
narrator.
Speaking of Love in Unreliable Narration
Although according to the above analysis, Grant’s personal feelings appear to be unreliable, it must be
clear that the ending of the story, Grant and Fiona finally understand each other. From a practical point of view,
both of them are unfaithful. The only difference is that Grant cheat in a sober state, while Fiona falls in love
with Aubrey because of Alzheimer’s disease. Munro arranges the plot of Fiona’s transference of devotion,
which actually satirizes Grant’s previous infidelity. Although the ending of the story is that the two people
understand each other, it is actually an open plot. In the text, when the invisible narrator jumps out of the
“self-limitations” and unfolds the narration from an omniscient perspective, the narrative tone shows an
unusual irony attitude towards love.
The Love Predicament of the Elderly
Unlike other love stories, this story is mainly about the love between the elderly. Among it, the two
protagonists are in love dilemma. Grant is a man who has been branded as disloyal, and he is facing his wife
Fiona who has Alzheimer’s disease. However, Fiona is a faithful woman but she forgets her lover, which leads
her transference of devotion. It can be seen that love between the elderly is not smooth and there also exists
many problems. However, due to the characteristics of the elderly, they are usually conservative and
concessional in dealing with emotional problems, so the characters in the story do not have too many fierce
responses. In order to satisfy Fiona, the derailed Grant finally chooses to stay with a person without love
relationship—Marian. Through careful reading, clues of reality can be found from the text. The narrator has
been trying to confuse the readers’ views, such as whether the two protagonists love each other deeply, but this
question is not really necessary. For the elderly, mutual companionship is the most important, which is also the
way for Grant and Fiona to escape from their love dilemma.
The Implied Munro and Her Insight of Love
It is worth mentioning that Munro hidden in love writing. Through above analysis, the unreliable narration
of the narrator highlights Munro’s irony of love. At the end of the story, Munro’s detailed description of the
characters’ dialogue shows her expectation of love. Fiona wakes up and remembers Grant, she says: “I’m
happy to see you”, and she thinks Grant could have abandoned her, but Grant responds: “Not a chance” (Munro,
2000, p. 127). Munro presents a story of love, betrayal, reconciliation with perfect ease (Maji, 2017, p. 57).
Because Grant loves Fiona, he chooses to stay away from her and let her stay with the people she loved;
Because he loved her, so he seduces Aubrey’s wife, and let Aubrey return to Fiona. Their love has surpassed
the love between men and women, and has become an inseparable and everlasting deep family relationship.
Perhaps this is the so-called ultimate love. Obviously, from Munro’s insight of love, the ultimate love is not
perfect, on the contrary, it is deeply helpless and full of holes.
Conclusion
“The Bear Came over the Mountain” is one of Munro’s masterpieces. This story in particular addresses the
inner world of the elderly and inform, of discordant couples, and of men. Through the eyes of Grant, the elderly
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husband, the reader observes events in the tragicomic world of dementia, with its poignant sacrifices and
mix-ups. Munro’s writing is fascinated by the ambiguous aesthetic. Munro consciously arranges other narrative
possibilities with the creativity of the subject while describing the representation. Heble points out Munro’s
writing style is “deceptive realism” (Heble, 1994, p. 190). This narrative style is mainly reflected in the
multiple forms of unreliable narration in “The Bear Came over the Mountain”.
The multiple types of unreliable narration present the complex relationship and narrative pattern between the
narrator and the implied Munro. The character perspective unreliable narration shows that the narrator divides the
subject consciousness into the character perspective in the love text. Through the text of Grant’s self-evaluation,
finding excuses for himself and the reality, it demonstrates the collision and interweaving of different consciousness
and values in the text, thus making the “truth” tend to be complex and uncertain in the text. Information unreliable
narration originates from the subject differentiation of the narrator. The insufficient or wrong judgment of the
narrator on the facts, values and cognitive axis may lead to the delay, ambiguity and distortion of information. In
essence, the unreliable narrator causes the unreliable information. In the narration and processing of information,
the differentiation of the narrator’s subject manifests the split and instability of the character’s spiritual level, as
well as the instability of order and a certain sense of insecurity in the real relationship.
In the generation of unreliable narration, Munro constantly adjusts the distance and dimension between
creative truth and truthful fiction, and constructs a feasible path between text truth and fiction through
unreliable narrative rhetoric, so that readers can still catch the possibility of the split of reality in the reality of
the text. From the depiction of Munro, readers can find her hidden insight of love. Love is not unchangeable.
Maybe there is cheating and betrayal in love, but as the name of the story, love still returns after coming over
the mountain..
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