Irony and Point of View in Wideman's "Newborn Thrown in Trash"

Introduction: A Distinctive Narrative Voice

John Edgar Wideman's short story newborn thrown in trash and dies uses a highly distinctive point of view for dramatic effect and irony. The story unfolds from the perspective of an unwanted baby thrown into a trash chute, capturing the infant's last moments through its own internal first-person voice. Not only is this an unusual narrative choice, it is also deeply emotional and moving. Wideman uses this perspective to make the impact of his story all the more dramatic, dark, and devastating.

This disturbing and graphic story opens with a first-person voice that sounds simultaneously rational and bitter. The opening lines foreshadow what is to come, though not yet to whom or why. As Wideman writes, "They say you see your whole life pass in review the instant before you die. How would they know? If you die after the instant replay, you aren't around to tell anyone anything" (Wideman 1396). The reader is thus prepared for something unpleasant, but the full extent of that unpleasantness remains unclear. In fact, the actual premise of the story does not become apparent until much later — yet already the point of view draws the reader in and makes them want to know more about this intelligent and embittered narrator.

Dark Humor as a Narrative Device

There are moments in which the narration is funny or even amusing — at least before the reader fully understands what is coming. Wideman uses humor in the same way he uses point of view: to jar the reader. By introducing humor early, he ensures that readers will be even more affected by the reality that follows. The story is, in truth, not funny at all; it is tragic. The humor makes the situation all the more unfortunate and, in turn, all the more remarkable.

For example, early in the story Wideman writes: "The end is the end. And what you know at the end goes down the tube with you. I can speak to you now only because I haven't reached bottom yet. I'm on my way, faster than I want to be traveling and my journey won't take long" (Wideman 1396). Without the context of the rest of the story, this reads like the bitter reflection of any jaded individual facing death before they are ready — even wryly humorous. That perception changes entirely once the story's premise becomes clear: these are the thoughts of a dying baby falling down a trash chute. The words take on a new and devastating meaning, and that transformation is precisely what Wideman intended. He needed to wake readers up to situations they might not believe were possible. By using this point of view, he accomplishes exactly that, leaving the reader deeply unsettled by the story's end.

The Dramatic Power of the Baby's Perspective

The viewpoint is undeniably dramatic. The story's entire premise is equally dramatic, drawing the reader in and giving events greater meaning and impact. The baby speaks to the reader the way any adult might speak with another adult — with grown-up thoughts, ideals, and ambitions, all cut short by another adult's choice. Who has not been affected by the actions or words of another person? In this way, the author's point of view makes the baby even more sympathetic and lifelike, which in turn makes her situation even more tragic.

The reader identifies with the baby's inner voice, recognizing thoughts similar to their own. For instance, the baby reflects as she falls: "I know things I have no business knowing. Things I haven't been around long enough to learn myself. For instance, many languages. A vast palette of feelings" (Wideman 1397). This passage helps readers identify with the child and compare her brief existence to their own lives. The baby seems to speak for the reader as well, and both narrator and reader are united in the recognition of a young life cut short. This identification is the point of both the story and the narrative technique Wideman employs.

Conclusion: A Wake-Up Call Through Literary Technique

The author's use of literary devices — irony and point of view in particular — genuinely amplifies the impact of this story. The subject matter is inherently emotional, but Wideman gives it even greater emotional weight by narrating from the baby's perspective and exposing the irony running throughout her situation. It is a sad and disturbing story that demands the reader stop and reflect. In a sense, each of us is hurtling toward our own end in a trash chute; some of us simply have far more time to contemplate that destination than others.

The real tragedy of this story is that another human being could actually discard a baby as though she were refuse. That fact says a great deal about American society, its values, and its treatment of the poor and destitute. That throwing away a newborn could feel like the only option to someone is a horrible truth to confront. The story's point of view forces the reader to face these uncomfortable realities — that millions of desperate and impoverished Americans encounter choices like this every day. It is meant to be a wake-up call, and the irony and perspective work together toward exactly that end: to rouse the reader and compel them to take a hard, honest look at the world around them.

Wideman, John Edgar. "newborn thrown in trash and dies." The American Short Story and Its Writer: An Anthology, edited by Ann Charters. Bedford Books, 1999, pp. 1395–1401.