The most essential theme of Atonement is the way an individual’s perspective inevitably shapes his or her reality. At various points throughout the novel, McEwan filters the narrative through a particular character’s point of view. By juxtaposing the distinct, and frequently conflicting, ways his characters understand the world, the author illustrates that each individual’s reality is as much a product of their own biases, assumptions, and limited knowledge as it is a reflection of an objective, external truth.
The most powerful and consequential example of perspective influencing reality is Briony’s inaccurate incrimination of Robbie. A long chain of self-centered reasoning leads the young girl to believe that Robbie is responsible for raping Lola. First, her resentment at being excluded from Robbie and Cecilia’s mutual love predisposes her to view Robbie negatively. Later on, her childish imagination leads her to fabricate a sinister backstory to explain why she saw Robbie and Cecilia cavorting semi-clothed in the fountain together. These biases in turn drive her to surreptitiously read the lewd letter Robbie accidentally sends to Cecilia and conclude that the young man is a depraved maniac. Together, these hasty conclusions and unnoticed biases make Briony convince herself that she saw Robbie assault Lola, and attest this misconception to the police. At this point, Briony’s flawed perspective combines with the incomplete perspectives and biases held by authority figures like the police and Mrs. Tallis, and this is all it takes to fabricate a reality in which Robbie is guilty—even though that reality has no basis in actual fact.
However, even though Briony’s biased reality certainly causes the furthest-reaching repercussions, McEwan shows that no character is capable of seeing the world in a truly objective, balanced way. For example, despite being so deeply harmed by others’ hasty judgments, Robbie and Cecilia themselves (snobbishly) assume that the servant Danny Hardman was Lola’s true rapist, even though the facts indicate otherwise. Through this and other shifts in perspective, McEwan illustrates the crucial, yet capricious, role that narrative plays in our individual understandings of truth.
Perspective Quotes in Atonement
[Briony] was not playing Arabella because she wrote the play, she was taking the part because no other possibility had crossed her mind, because that was how Leon was to see her, because she was Arabella.
…was everyone else really as alive as she was? For example, did her sister really matter to herself, was she as valuable to herself as Briony was? Was being Cecilia just as vivid an affair as being Briony? Did her sister also have a real self concealed behind a breaking wave, and did she spend time thinking about it…if the answer was yes, then the world, the social world, was unbearably complicated…but if the answer was no, then Briony was surrounded by machines, intelligent and pleasant enough on the outside, but lacking the bright and private inside feeling she had.
It wasn’t only wickedness and scheming that made people unhappy, it was confusion and misunderstanding; above all, it was the failure to grasp the simple truth that other people are as real as you. And only in a story could you enter these different minds and show how they had an equal value. That was the only moral a story need have.
It would have suited [Cecilia] better had Briony wept and allowed herself to be comforted on the silk chaise longue in the drawing room. Such stroking and soothing murmurs would have been a release for Cecilia…addressing Briony’s problems with kind words and caresses would have restored a sense of control. However, there was an element of the younger girl’s unhappiness.
Poor darling Briony, the softest little thing, doing her all to entertain her hard-bitten wiry cousins with the play she had written from her heart. To love her was to be soothed. But how to protect her against failure, against that Lola, the incarnation of Emily’s youngest sister who had been just as precocious and scheming at that age, and who had recently plotted her way out of a marriage, into what she wanted everyone to call a nervous breakdown.
[Cecilia] always seemed to find it awkward – that’s our cleaning lady’s son, she might have been whispering to her friends as she walked on. He liked people to know he didn’t care – there goes my mother’s employer’s daughter, he once said to a friend. He had his politics to protect him, and his scientifically based theories of class, and his own rather forced self-certainty. I am what I am.
Initially, a simple phrase chased round and round in Cecilia’s thoughts: Of course, of course. How had she not seen it? Everything was explained. The whole day, the weeks before, her childhood. A lifetime. It was clear to her now.
The very complexity of her feelings confirmed Briony in her view that she was entering an arena of adult emotion and dissembling from which her writing was bound to benefit.
The scene by the fountain, its air of ugly threat, and at the end, when both had gone their separate ways, the luminous absence shimmering above the wetness on the gravel – all this would have to be reconsidered. With the letter, something elemental, brutal, perhaps even criminal had been introduced, some principle of darkness, and even in [Briony’s] excitement over the possibilities, she did not doubt that her sister was in some way threatened and would need her help.
“Something has happened, hasn’t it? And you knew before me. It’s like being close up to something so large you don’t even see it. Even now, I’m not sure I can. But I know it’s there.”
In that shrinking moment [Robbie] discovered that he had never hated anyone until now. It was a feeling as pure as love, but dispassionate and icily rational. There was nothing personal about it, for he would have hated anyone who came in.
If he could not be with Cecilia, if he could not have her to himself, then he too, like Briony, would go out searching alone. This decision, as he was to acknowledge many times, transformed his life.
She liked [Robbie] well enough, and was pleased for Grace Turner that he had turned out to be bright. But really, he was a hobby of Jack’s, living proof of some leveling principle he had pursued through the years. When he spoke about Robbie, which wasn’t often, it was with a touch of self-righteous vindication.
[Briony] would never be able to console herself that she was pressured or bullied. She never was. She trapped herself, she marched into the labyrinth of her own construction, and was too young, too awestruck, too keen to please, to insist on making her own way back…by clinging tightly to what she believed she knew, narrowing her thoughts, reiterating her testimony, she was able to keep from mind the damage she only dimly sensed she was doing.
Briony’s immediate feeling was one of relief that the boys were safe. But as she looked at Robbie waiting calmly, she experienced a flash of outrage. Did he believe he could conceal his crime behind an apparent kindness, behind this show of being the good shepherd? This was surely a cynical attempt to win forgiveness for what could never be forgiven. She was confirmed again in her view that evil was complicated and misleading.
Robbie and Cecilia had been making love for years – by post. In their coded exchanges they had drawn close, but how artificial that closeness seemed now as they embarked on their small-talk, their helpless catechism of polite query and response. As the distance opened up between them, they understood how far they had run ahead of themselves in their letters.
To be cleared would be a pure state. He dreamed of it like a lover, with a simple longing. He dreamed of it in the way other soldiers dreamed of their hearths or allotments or old civilian jobs. If innocence seemed elemental here, there was no reason why it should not be so back in England. Let his name be cleared, then let everyone else adjust their thinking.
Reading these letters at the end of an exhausting day, Briony felt a dreamy nostalgia, a vague yearning for a long-lost life. She could hardly feel sorry for herself. She was the one who had cut herself off from home.
Growing up…godamnit! You’re eighteen. How much growing up do you need to do? There are soldiers dying in the field at eighteen. Old enough to be left to die on the roads. Did you know that?
The problem these fifty-nine years has been this: how can a novelist achieve atonement when, with her absolute power of deciding outcomes, she is also God? There is no one, no entity or higher form that she can appeal to or be reconciled with, or that can forgive her. There is nothing outside her. In her imagination she has set the limits and the terms. No atonement for God, or novelists, even if they are atheists. It was always an impossible task, and that was precisely the point. The attempt was all.
I like to think that it isn’t weakness or evasion, but a final act of kindness, a stand against oblivion and despair, to let my lovers live and to unite them at the end. I gave them happiness, but I was not so self-serving as to let them forgive me. Not quite, not yet. If I had the power to conjure them at my birthday celebration…Robbie and Cecilia, still alive, sitting side by side in the library…