I don’t completely endorse the idea that settings are like characters. While someone’s workspace or personal space can convey surface-level symbolic meaning over personality, what is tolerable or not, and more, I don’t think it’s a comprehensive glimpse into a person’s, or character’s, mind. Still, in “The Story,” there are some key settings that could provide interesting anecdotal information into the minds of Trishna [left] and John [right]. Let’s declutter the psychology from the physical.
Spoilers?: Minor (set-building… as character-building?)
Trishna’s bedroom is the most important early set.
While Trishna’s mom was pregnant with Trishna, they discovered she had a malformed foot that would cause her to be born disabled, so they either custom-built or retrofitted a bottom-floor bedroom of their house on the Lanchester Farm for her. There is enough room for egress from the door to the dresser on the right, the bed just after that also on the right, the television to the left, against the far side of the room is a computer and study area, with a door leading to a bathroom on one side, with perhaps a large closet on the other side.
The details aren’t precise enough to allow for blueprints.
How big is the bedroom? How much furniture can fit in the room? What are potential obstruction points, like power outlets, windows, and air vents? What is a realistic design versus what is too fantastic? Questions like these dictate the architectural design of the bedroom, which can impact the psychology of the inhabitant. If Trishna’s bedroom is too small, she probably won’t be inspired to collect things, because she won’t have the room. Those are just surface-level concerns that don’t affect the narrative much.
Trishna will collect stuffed animals, and later, potted plants, too.
Growing up, Trishna’s stuffed animal collection remained small, symbolic of events she participated in or gifts she received from family. When John moves in, after the events of “The Scene,” he attempts to gift the stuffed dog that he once found and cleaned up, named Danke, but Trishna refuses because it should be too precious to him. He admits that that’s the point. They decide that Danke and her childhood stuffed elephant, named Haathee, should sit together in a prominent spot. It’s cute, romantic, and architecturally neutral.
The potted plants are a result of future apartments they share together.
Most apartments have a balcony area with decent exposure to sunshine and air. John and Trishna will get plants to live primarily on these balconies, unless during adverse weather, in which case they’ll have wheels to bring them in. These plants will be like pets, since at least during their college years, they can’t have Trishna’s retired service dog Pollyanna due to the college’s no-pets policy. Dorms, apartments, and possibly bigger living spaces might impact the overall feeling of a scene or provide some background symbolism.
However, settings might only be circumstantial at best.
That might be the justification of psychological setting analysis.
Space and stuff sometimes represent ourselves.
|Sources: The Story’s Imaginarium.|
|Inspirations: I’ve been thinking about moving frequently, between my actual need to move into a new place and writing Jane’s side of the Sammohini Arc, a furniture mover inspired by my past experiences, along with considering the importance of setting in narratives.|
|Related: Essays building “The Story.”|
|Photo: Some necessary clutter generated for the “Building Up Lanada” photo.|
|Written On: July 4th [1 hour]|
|Last Edited: July 4th [0 minutes]|