is a literary term which relates to who the narrator in a work is, from what voice or angle of vision or perspective a story or other literary work is told.
Is

Because the phrase “point of view” also can mean
“opinion” (as in “Bill had a different point of view”) some readers have trouble understanding what the phrase means in literary terms.
When we discuss POV, we are not really talking about what an author’s theme or opinion is. We are simply identifying who the narrator is and what that voice’s relation to a story is.

When you are thinking about a story’s point of view, the first question to be asked is “who is telling the story?” or “Who is the narrator?” or
“From whose angle of vision is the story told?”

1 st person : the narrator is a character in the story and speaks with the pronoun “I” to narrate.
3 rd person : the narrator is distanced from the story and speaks with a more impersonal voice using the pronouns “she,” “he,” or “they”

rd
3 rd person omniscient** : the narrator seems to know everything about every character, all their thoughts, motivations, and feelings.
Frequently this narrative “voice” is assumed to be that of the story’s author. But authors do not always intend for us to make that assumption. Most frequently, this narrative voice is simply “unlocatable” and cannot really be clearly identified.
**“Omniscient” means “all knowing” (omni = all)

3 rd person limited : the narrator knows the thoughts, motivations, and feelings of a limited number of characters, not of all characters. Most commonly, the narrator shows us the story’s action through the consciousness of only one character.

3 rd person dramatic : The story is laid out before readers like a drama and has no narrator. Instead, the characters move about and speak to one another as though on stage, and we learn from watching their actions and listening to their words.
We are not given the characters’ thoughts nor are we told their motivations for speaking and acting as they do. Stories by Ernest Hemingway frequently use the 3 rd person dramatic point of view. Review
“Hills Like White Elephants” for an example.
These stories often rely heavily on dialogue.

One important question to ask about any narrator is whether he or she is reliable or unreliable .
Just as we “consider the source” when we are told real life stories, we should also consider the source when we read literature!
In other words, we should consciously judge the character of any narrator.

Reliable narrator : this narrator seems to be trustworthy, aware of what is true and untrue, and we believe that the narrator not only knows the truth but is also sharing it with readers.
Usually, we trust a 3 rd person omniscient narrator to be knowledgeable and truthful.

Unreliable narrator: Narrators can be unreliable because they are not trustworthy.
A narrator may be a liar or may show evidence of such bias that we come to distrust that narrative voice. A narrator could even be insane. Do you trust all of
Edgar Allan Poe’s narrators? Many of them are 1 st person narrators. Because they are so involved in the story, they may not be perceiving events or other characters accurately. Or they may have a reason for withholding the truth.

Naïve narrator: a narrator can be unreliable because he or she just does not understand events, even though he or she may be the narrative voice whom we must depend upon to tell us the story. For example, a child might be naïve, or a mentally retarded narrator might misconstrue events and the actions, even words, of other characters.

One famous example of a naïve narrator is found in
William Faulkner’s novel
The Sound and the Fury .
There, the first section of the story is shown through the consciousness of Benjy, a 33-year-old man who has the mental capacity of a 5-year-old child. He also lacks a clear sense of time. Tension is established in the story when readers begin to understand that Benjy, the narrator upon whom they are depending, is naïve, i.e., does not understand the import of all he sees or of what other characters say. Though this early section of the novel is filtered through Benjy’s sensibility, readers are left to decipher on their own the actual events, times, and meanings.

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What is the point of view in this work?
Is the narrator reliable?
If the narrator is unreliable, why do I think so?
How does the author’s choice of narrator affect the story?
How would the story differ if another narrator or voice were used, i.e., a 3 rd person narrative were changed to 1 st person, or vice versa?
Or what if a different character were made the narrator?

Dee narrates “Everyday Use.”
Asalamalakim narrates. Maggie narrates.
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Aminadab narrates “The Birthmark.”
Mrs. Snopes narrates “Barn Burning.”

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Interior Monologue: perspective comes from within one character’s mind and readers are aware of that character’s thoughts.
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Stream of Consciousness: perspective comes from within one character’s mind and readers are aware of that character’s thoughts, feelings, perceptions.

Notice that the difference in the terms is that one relates to thoughts only while another includes feelings and perceptions.
Some critics consider “stream of consciousness” and “interior monologue” as interchangeable.
However. . . .

Other critics make a clear distinction between thoughts and feelings/perceptions.
These latter critics consider that interior monologue respects syntax (word order) and grammatical form, but stream of consciousness does not, being intended to show “a direct quotation of the mind”
(Bowling, qtd in Prince 92.) Thus “stream” often lacks punctuation, uses neologisms, and pays little heed to grammatical form.

Point of View is one of the most important decisions an author makes in creating a story. Who will tell the story? Which characters do we as readers understand best? How does the point of view prejudice us for or against characters in a story?

Works Cited
“Stream of Consciousness.”
Dictionary of Narratology . Gerald
Prince, ed. Lincoln: U of Nebraska P, 1987.

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