Analysis Of Alameddine In I The Divine

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I, the Divine is like Koolaids as an imaginative novel. It is a postmodern fictional autobiography; it is a work in progress; “provisional” and “shifting,” as poet Lynn Emanuel points out about life writing (The Practice of Poetry 67). Emanuel states the provisional and shifting as “that is all vision: revisions coming at us at the speed of light. Writing presents to us the nullity of ourselves, the inaccuracies of our perceptions of selfhood. We are both nothing and everything – provisional, shifting, molten” (The Practice of Poetry 67).
I, the Divine is a metanarrative commentary about the difficult procedure of recounting, retelling, and recordings one’s autobiographical narrative. Alameddine’s narrative framing in I, the Divine does not limit itself to specific genre, perspective, or character. He creates a fictional, nonlinear story line that picks up and leaves off at different points in the protagonist’s life, Sarah, and he complicates the reader’s expectation of straight forward and traditionally written style by moving through genres of memoir, novel, and epistolary. Alameddine in I, the Divine explores the connection between autobiographical voice and the narrative structure of a fictional autobiography presented as a series of first chapters which is written mostly in English and sometimes in French. He compares himself with the protagonist Sarah saying, “Sarah plays soccer, paints, because there are things that interest me, as well as these are things that
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