英国小说家伊恩·麦克尤恩的《赎罪》是一部非常耐读的作品,其主人公布里奥妮虽然犯下大错却受到了读者的同情,这种同情的获得是叙述者有意为之的结果,这包括全能全知叙述视角的选择、布里奥妮内心世界的展示、叙述干预手法的使用等等。这种同情的获得也与叙述者过多地压制信息的叙述方法有关,如,罗拉的讲述、核心当事人的讲述都不同程度地受到了压制,读者只能在叙述者的掌控中寻求因果。这种同情的获得还源于布里奥妮是一个不可靠的叙述者,由于她的不可靠发生在知识/感知的轴线上,这不仅不会让读者怀疑她,反倒增添了许多同情心。作者对小说虚构性的宣布,表明了布里奥妮赎罪的不可完成性,也暗示了读者对布里奥妮的信赖和同情是一种缺失主体性的表现。 British atonement Ian McEwan’s Atonement is a highly readable piece whose heroine Britanion received sympathy from readers who made a big mistake, This includes the choice of omnipotence narrative perspectives, the display of Briony’s inner world, the use of intervention techniques, and so forth. The acquisition of such sympathy is also related to narrative methods in which narrators suppress the information too much. For example, the narration of Rolla and the statements of the core parties are suppressed to varying degrees, and the readers can only seek cause and effect in the narrator’s control. This kind of sympathy derives also from the fact that Brioni is an unreliable narrator who, due to her unreliability in the axis of knowledge / perception, not only does not allow the reader to doubt her, but rather adds a lot of compassion. The author’s fictional announcement of the novel shows the inauguration of Brioni’s atonement and also implies that the reader’s trust and sympathy with Brioni are a manifestation of the lack of subjectivity.