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Title : "In a novel, we accept the worldview of the narrator, however limited or objectionable."
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"In a novel, we accept the worldview of the narrator, however limited or objectionable."

"Scout, who is barely 6 at the start of the story, can use words in print that would make her instantly unsympathetic onstage. We also accept that a first-person portrait of a white child’s moral awakening to racism will primarily focus on how it affects the white people around her. But onstage, a work about racial injustice in which its principal black characters have no agency would be intolerable, so Mr. Sorkin makes a series of adjustments. With Scout’s point of view subordinated, we see Atticus through our own eyes instead of hers, making him the firm center of the story.... It’s what happens in the gap between the old and new storytelling styles, as Mr. Sorkin tries to kill two mockingbirds with one stone, that gives me pause. His play, with its emphasis on the trial, is about justice, and is thus a bright-line tragedy. The novel is about something much murkier: accommodation. Atticus — who was based to some extent on Lee’s father — despises racism as a form of incivility but insists that any man, even Bob Ewell, can be understood if you walk in his shoes or crawl around in his skin. It’s hardly a comedy but is nevertheless hopeful to the extent that it clears some space for a future. These are two worthy ideas, if contradictory. In light of racial injustice, accommodation seems to be a white luxury; in light of accommodation, justice seems hopelessly naïve."

From "Review: A Broadway ‘Mockingbird,’ Elegiac and Effective" (NYT).

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