In this final section of the novel, as every convention is undermined, Carter also relinquishes the authorial voice and allows Fevvers to tell the story in her own words. Unlike the first section of reminiscence, this is not her speaking within the reality of the fiction, but assuming a first-person narrative voice in order to relate events in the first person.
It is rare for the narrative voice to be ascribed to more than one character, or to slip from the observing voice of an absent author to an active participant in the novel's events. However, there are some well-known exceptions. Many epistolary novels - written in the form of letters, articles and journal entries - assume different authors for each entry. William Faulkner (1897-1962) regularly used this 'alternating person view', most notably in As I Lay Dying (1930). The story is told by 15 different narrators - including the deceased Addie Bundren - in a stream of consciousness style. Like magical realism, the technique has also been demonstrated by Latin American writers including Carlos Fuentes and Cristina Garcia.
Well known tales including Robert Louis Stevenson's (1850-1894) Treasure Island (1883), Charles Dickens' (1812-1870) Bleak House (1853) or A Tale of Two Cities (1859), Vladimir Nabokov's (1899-1977) The Gift (1937) and Barbara Kingsolver's (1955-) The Poisonwood Bible (1988) switch from a third to first-person perspective, just as Carter does with Fevvers in this part of the novel.