The Albanian Virgin Essay

This essay has a total of 1534 words and 8 pages.

The Albanian Virgin


ALICE MUNRO'S THE ALBANIAN VIRGIN IN OPEN SECRETS EXEMPLIES HER CHARACTERISTIC APPROACH


To try to trace Alice Munro's narrative techniques to any particular development in the
short story The Albanian Virgin would be difficult. This could be because it is simply
written from careful observations as are many of her other short stories. In her short
stories, it is as though she tries to transform a common, ordinary world into something
that is unsettling and mysterious as was seen in Vandals. Most of her stories found in
Open Secrets, are set or focused on Munro's native Canada, Huron County, and particularly
in the small fictional Ontario town of Carstairs, although the setting in The Albanian
Virgin is in British Columbia. The story, The Albanian Virgin, found in Open Secrets,
exemplifies Munro's characteristic approach to short story writing as it explores central
character's lives that are revealed from a combination of first person narrative and third
person narrative. By using both narratives, Munro adds realism, some autobiographical
information about her own life in the short stories, as the stories are also based on
fiction as can it be found in earlier written short stories.


Since many of her stories are based on the region in which she was born, the characters
and narrators are often thought of as being about her life and how she grew up; and making
her stories appear from a feminist approach. This could also indicate why the central
characters in the short stories in Open Secrets, are all women: a young woman kidnapped by
Albanian tribesmen in the 1920's in The Albanian Virgin, and a young born-again Christian
whose unresolved feelings of love and anger cause her to vandalize a house in Vandals.


Her theme has often been the dilemmas of the adolescent girl coming to terms with family
and a small town. Her more recent work has addressed the problems of middle age, of women
alone, and of the elderly. The characteristic of her style is the search for some
revelatory gesture by which an event is illuminated and given personal significance. (The
Canadian Encyclopedia Plus 1995)



Munro's later work can probably be seen as that of her later or more recent memories, as
she ages so does the characters of her short stories.


The short story, An Albanian Virgin, begins with the telling of a story by Charlotte, who
the reader is later told is in the hospital dying. She tells an autobiographical tale of a
woman captured by a mountain tribe while traveling in Albania. She is rescued by a
Franciscan priest who may in fact be Gjurdhi, her present lover. This tale of a young
Canadian woman traveller kidnapped by Albanian bandits in the 1920's "is based on a
real-life episode of a Clinton (town where Munro grew up in) librarian, Miss Rudd, who got
separated from her travelling party in Albania." (Turbide, 49) Munro heard this story from
her second husband, when she moved back from living in British Columbia for a period of
time. Later, she investigated the story and verified some of the details from a local
newspaper.


Also, the story as Munro acknowledges is not really about a "high romance in Albania" as
she describes it. "What really grabbed Munro's attention was the role that sex played in
determining a woman's status in the tribal culture of that time. If a woman renounced sex
to become a "virgin," she could live as an equal with men: she could own land, carry a
weapon, be served food prepared be women." (Turbide, 49)


Women were not seen as equals to men in Albania at that time, and so it was seen
throughout the story as "women were with women and men were with men, except at times in
the night (women were teased about such times were full of shame and denial, and sometimes
there would be slapping) and at meals, when the women served the men their food. (Munro,
88)


The short story An Albanian Virgin, is often referred to as a "kaleidoscope", as the
narrative moves from the bookstore owner, the narrator; to Charlotte, the bookstore
owner's storytelling friend; then to Lottar, the mysterious heroine in Charlotte's story.


Munro offers us (the reader) a bouquet of stories in one: the narrator's escape from and
longing for both lover and husband; Charlotte and her husband Gjurdhi, who are somewhere
between threats, exemplars of surviving love and pathos (as Munro's late middle aged
couples often are); the adventure of Lottar and the Franciscan priest who helps her escape
from what is both new home and prison; the antagonistic mating dance between the bookstore
owner and her new, odd friends, Charlotte and Gjurdhi.


(Bloom 1995)


The change from one character's point of view or narrative to another is changing the
setting and mood of the story. The narrator is indirectly portraying her as they both
moved to British Columbia and opened a bookstore. It is like telling the story of three
individuals with relation to her own life. When Munro was asked once in an interview as to
why she used both first and third person, her reply was "it allows you to move around a
bit more, and it allows you to say things about other characters" (MacKendrick, 24).
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