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Originally Posted by gmw
I agree that the intentions of the author are relatively clear, but I also think the ambiguities and/or inconsistencies do exist in the text.
Later in the story we hear something of the sad tale of Anne's life before arriving at Green Gables, and such a tale makes the idea that she would risk her position at her new home - which she obviously loves, if it's not all a dramatic put-on - seem unlikely in the extreme. Being forward and talkative and opinionated seemed unlikely enough, but yelling at her elders and then being reluctant to apologise? Being ungrateful for new clothes? It doesn't seem to fit with what we learn of her history.
But noticing such things is, perhaps, a little uncalled for in a children's tale. These are the sorts of little problems that can arise in any fiction that's trying to be real enough to be almost believable, but also idealistic enough to present a wholesome tale. The author neatly minimises the problem by separating the history somewhat from the early behaviour, so the reader is less likely to make the unwanted connection. |
I think this is an excellent point and also results from LMM’s essential weakness as a writer of novels*, namely that her forte was the short story. It’s been noted that Anne is really just a series of vignettes; LMM can’t plot for the long-range. So I think character, backstory, whatever, are always fluid in service of that particular vignette. Something like a soap opera, in fact, where you’re not supposed to be too good at remembering. Or even supermarket tabloids; how often can Harry and Meghan reasonably be expected to be divorcing?
It even ties into the dress issue. Anne brags that Marilla isn’t stingy and we have no reason to think she is. You might expect pretty but plain attire, which would be enough for Anne to mourn the sleeves. Would it have provided the opportunity for Matthew to put his oar in? Hideous even he couldn’t miss.
Diana is another example, as said above. Amorphous. Serves whatever purpose needed in that vignette.
*She had one more glaring weakness which becomes more and more apparent as you read more of her work. She’s got essentially two themes: orphans and romance later in life.