How many novels had he read in which the first person kept him in misbelief, or in the reading of the text he found himself continually saying it wasn't true. The truth of writing comes from tonal qualities of the voice and in a voice we hear such a specific set of triggers, ones of lies, that we hold onto a single one and we don't give it up until a bewildering truth comes from the character, in the case of the first person narrator. Implication, where we can suss out truth and hold it without being handed it, should be a clearly visible feature of this first person narrative. The voice must at once give us a story and a character without tonal lies. He believes the third person narrator has a similar task, and just as the third can be overwrought or underwrought, the finding of characters isn't too hard, the property in the text where one 'sees' the character can be found immediately and as we're to find the truth in the third person's description, a false one may be simply wrong, or overwrought, but rarely must we care if the description is underwrought, in this circumstance, as it is an affordable luxury to piece together a character without a paragraph of stultified guidance.
The maximum effort of the first person narrator should blossom with narcissism. Believably, people enjoy describing themselves more often than not, and the circumstance of the critic's finding himself yelling false he also finds himself shaking his hands in the air when the false becomes a style, unworthy of the bliss. Exceptions include Notes from Underground and other first person characters whom despise their voice, writing table, chair, windows, and place and time. But the joyous or passionate first person, the narrator engaging the narrative beyond themselves, a truly beautiful text, lets us relax with the novelist. To employ the false sentiment or voice in a first person narrative the novelist has a grand set of tools, and these tools, when in good use, pad the reader from the lie, and spin them in a narrative spiral, a reading of certain pleasure, though it is false--But the true pleasure, the complete origin of relief, in relation to the first person narrative, is to the novelists themselves, and in employing the voice of their hero, or many, or anti-hero, or well hidden side-character, the novelist is allowed their full breath and in a sense they employ the V-12 of narrative, where the third person can be a finely tuned inline 6. Of course, the critic admires, with the novelist's fine lungs and full breathing, how he himself may be the victim in breathlessness due to the author's wide ranging and true first person tracts of text. The critic enjoys this breathlessness.
Conor Robin Madigan