On "The Ones Who Walk Away From Omelas"

Written in the second person. The author is simply the narrator, not a character in the story. The author addresses the reader as "you", for example, "...I fear that Omelas so far strikes some of you as goody-goody." The effect is that of being transported into the midst of things in Omelas, having a tour guide take you around town, and then actually making the visit to the "cell" where "it" lives in all its misery and horror, in person. The author wants the reader to be present on location, as an active participant, not just a neutral observer, because the awfulness of the story lies in the knowing. We are constantly being addressed as "you". The author doesn't leave us any leeway in our perspective.

On "Guests Of The Nation"

Written in the first person. The narrator is the central character, Bonaparte, the "I". Everything is told from Bonaparte's point of view. The effect is that of a "traditional" story. There is some distance between the reader and Bonaparte. We see the futility of things as they happen, almost expect Bonaparte to intervene, to disallow it, and are disappointed when he doesn't, but also empathize with him. However, the immediacy isn't there. There is a feeling of "the past" in the story. We don't quite get the feeling that it's happening here and now and around us (which it isn't.)

On "Sarah Cole: A Type of Love Story"

Written in a mixture of first person and third limited voices. At times the author is simply the narrator, telling the story, but limiting the perspective to that of Ron, and at times becoming the central character, Ron. As the points of view change, we are shunted about, closer, and now further away from Ron. But, there is also a shift in tenses. When the author is writing in the first, we are transported back, 10 years back, as the events unfold. We are in the midst of things, things are happening around us. When the author writes in the third limited, we're alongside the author, in the present, looking back on the events, interpreting them, from outside of the central character.

On "The Geometry of Love"

Written in the third limited. A rather straight-forward story, with straight-forward devices.