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Dystopian and Utopian Omission of Discourse in Three Modern Robinsonades: Lord of the Flies, Concrete Island, The Red Turtle

The reader of Daniel Defoe’s Robinson Crusoe encounters a narrative self-consciously shaped by an intradiegetic narrator with the aim of unburdening his mind and creating a sense of order in and control over his own story: “I drew up the State of my Affairs in Writing, not so much to leave them to any that were to come after me [...] as to deliver my Thoughts from daily poring upon them, and afflicting my Mind” (49). This simple recipe is somewhat complicated by the addition of the voice of an older Robinson figure looking back on his adventures to the journal kept by Robinson in extremis. Where the younger Robinson on the island can occasionally fail to grasp the meaning of events around him, the older Robinson can step in and – with the benefit of hindsight – discern the workings of Providence in his younger self ’s life. Thus the story provides a sense of immediacy and jeopardy on the one hand while also offering retrospective wisdom and control on the other. What becomes increasingly clear through the telling of the story, however, is the fact that its main purpose is the shaping of reality into something that makes sense to the protagonist narrator as well as his readers. As Richetti elaborates: