So it has been a hectic end to the term, with little time to dedicate functioning brain power to write about the things flowing through my head. The world is an amazing place, yet capable of great horror. I have been incredibly angry with the world and people who can only see things from one point of view.

There may be more to write about that at some stage if I can provide the time to consider my thoughts and words. In the meantime, I have had the opportunity to discover Katherine Mansfield who has a wonderful ability to paint a scene with words. It was a pleasure to write the essay below, though I am hopeful I am not restricted to 500 words too often in the next couple of years.
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Journeying to The Bay with Katherine Mansfield

Modern literature does away with the rules surrounding narrative structure and plot. The works of Katherine Mansfield are a wonderful example of this. Mansfield has used a palette of literary techniques to create the scenes within the world of At the Bay. While Mansfield’s works may often seem plotless, she is quite successful in painting a narrative portrait of a place and time. A vignette full of colour.

Perhaps the most prominent literary technique utilised in At the Bay is the continually changing point of view. This begins with the narrator in direct conversation with the reader as the scene is set, traverses the lives of a number of the bay’s occupants – including Florrie the cat – before finishing with an exchange that leaves the reader wondering if it actually occurred. This, at times abrupt, transition between characters keeps the reader moving through the world Mansfield has created in a ghostlike fashion, briefly considering the lives on display before them. During (41-42) highlights the effect of these transitions, when considering that from the character of Lottie to her Aunt Beryl, noting the disorientating effect on the reader. The reader is left unsure of the place of the characters in the story as well as their own position in relation to the narrative.

Mansfield’s characters inhabit the bay and, following them throughout the day, the reader gains insight to their lives and that of the bay itself. Characters are shown to be the product of their choices, the effects of which can be seen in their interactions. Linda feels trapped by her marriage, “Oh, the difference, the relief to have the man out of the house” (Mansfield 213). It is a conversation with Jonathon in a later scene, that this idea of a prison is explored more fully. Jonathon’s words resonate with Linda’s own experience, “it must be awful” (Mansfield 236) she responds with the reader being aware that she feels the
same about her own existence. Though, in the end, Linda is happy with her cage, smiling at the trinkets brought home by her captor while at the same time unmindful to the cause of their purchase. Hers is a gilded cage.

Symbolism is used throughout the story, the use of pink throughout the day, highlighting that it is the women’s time, being but one. This use of symbolism is present even in Mansfield’s own writing (Woolf 184-187). Beryl dreams of having a man of her own, living the life of desire she feels is represented by the Kembers. Beryl is intoxicated in their presence, yet feels that “she was being poisoned” (Mansfield 220). This intoxication and desire is symbolised as she enters the water. The warmth, the golden sand between her toes and the waves reaching her breasts, hint at a sensuality that is missing from Beryl’s life. This sensuality is ultimately rejected by Beryl.

While just a sample of the literary techniques used by Mansfield to populate her landscape, it can be seen that she is remarkably adept in their usage. On the surface, it could be considered that Mansfield has failed to construct a short story in the traditional sense. Through the use of point of view, character development, and symbolism – and many more besides – she has created a narrative that fully engages the reader, staying with them long after the story’s end. Mansfield has allowed readers to inhabit scenes full of colour.