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The author tries to make the occasionally confusing plot line, back story, and the many characters less so by titling the different chapters by location and when the events are taking place, like "Istanbul, Saturday, September 5th Ten p.m." (Sheldon 1). This also creates a sense of excitement, as things seem to be evolving on a moment-by-moment basis at times, while at other times taking leisurely detours into the past. When there are more extended scenes these scenes seem to increase in weight and importance, such as the scene in which Elizabeth learns that she has been left the majority of her father's stock in the company.
Although the reader identifies with all of the characters, there is a certain distance as well, that creates a cool tone in this page-turner, because of the third person omniscient point-of-view that Sheldon uses. Sheldon tells a surprising amount about the characters, however, and he usually...
He tells us that Elizabeth begins by trusting Alec more than the other Roffes, for example, and that Helene is cool and detached, and unlike in a more subtle, modern novel or a novel that is told from a first person or third person limited point-of-view, the reader has to trust what the author says. At times he does enter into the point-of-view of some of the characters, but it is very clear when this occurs, because of their more limited knowledge. For example, after Elizabeth and Rhys Williams finally engage in a tryst, the reader is far more suspicious of him than Elizabeth, but Elizabeth can only think "Mrs. Rhys Williams" (Sheldon 402). The irony the author infuses this statement with is lost to Elizabeth -- but not to the reader!
Works Cited
Sheldon, Sidney. Bloodline. New York: Grand Central Publishing, 1998.
Works Cited
Sheldon, Sidney. Bloodline. New York: Grand Central Publishing, 1998.
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