From a craft point of view, third person provides a critical distance to examine and describe without sentiment that a first person point of view could need. I give the husband a voice, partly because it is a performance, so both characters ‘perform’ but in slightly different ways, but also, of course the male voice is still privileged in our society. He isn’t named though, you might have noticed, so he isn’t pinned in place by naming. I think Mallarmé wrote about the lack of a name allows a poetic freedom … it keeps them in opposition too, playing out the supposed binary opposition between the genders.
Sara Upstone talks to Heidi James about her novel Wounding.