The title of theodicy weights the entire piece with a heavy philosophical burden, which I assume is related to the nature of the piece being at one angle about the person the main character is seeing, who was molested and can not seem to reconcile what has happened with the prospects of living. The story is a first/second person narrative about a co-dependent individual, talking either in his head or out loud to his/her dead lover. The two characters seem to have bonded over their anguish, but over time the narrator’s lover, after multiple unsuccessful suicide attempts, decides to end it with a gun. the story starts where it ends, with a revisiting of the first line, with a turn in the last couple of words: “Let’s reminisce” becomes “let’s forget.”
Looking at this from the perspective of experimental fiction, the best angle I can find is that of a cyclical story. David Foster Wallace’s “Infinite Jest” is a highly structural cyclical story (modeled after a specific type of fractal which imbeds triangles within triangles). This story is not involved on that sort of level, but aims to tie the beginning to the end. Additionally, it attempts to break convention by having the narrator speak to a dead person. However, I would not consider this a non-conventional device. Recall Hamlet talking to Yorik’s skull in the graveyard.
Perhaps to push the boundary on this, you could change the narrator from the living person to the dead. Or you could alter the way in which information is revealed. As it stands now, time is still linear, and the plot arc is standard. Take these aspects of the story and contort them into something unusual. Good luck
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