Аннотация:If there is any one formal concern that can be said to characterize most modern fiction, it is the emphasis authors and critics have put on the relationship between the narrator and his narrative, on the role of voice. Even the rubric under which this issue generally is discussed, point of view, predicates a differentiation between the voice of the creator and his creations. And many modernist critics emphatically have insisted upon that differentiation, repeatedly arguing for a poetics in which the author is consistent in his use of voice, and in which the objective voice, as opposed to the subjective (the author's own voice), is regarded as superior. From Percy Lubbock's The Craft of Fiction in 1921 to Norman Friedman's comprehensive summary of this issue in 1969,1 most modernists have prescribed showing as opposed to tell-
