![]() ![]() This is proof enough of the power of those unknown unknowns. Because, to two narrators telling the story, they are truth. The storyline is built upon lies and deception and the narrative is built upon the relating of lies and deception as if they were truth. An omniscient all-knowing narrator could have told this story, but it would feel like a monumental cheat. The novel is an exercise in the value of point of view to tell a story. Twisted as this may be semantically, it is perfectly applied to the structure of Fingersmith. And stuck somewhere in the murky borderlands between the two are those things that we don’t know we don’t know until they become known. But there are also unknown unknowns-the ones we don't know we don't know.” Rumsfeld’s mangling of the English language notwithstanding, he wasn’t wrong. We also know there are known unknowns that is to say we know there are some things we do not know. The structure of this novel recalls the infamous words of former Defense Secretary Donald Rumsfeld at the height of his attempt to cover up the White House’s Iraqi WMD debacle: “There are things we know we know. We are thankful for their contributions and encourage you to make your own. These notes were contributed by members of the GradeSaver community. ![]()
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