The Setting as Story

I’ve been thinking about “The Setting as Protagonist.” That is, when setting acts in the story. When it has its own narrative.

Fr'instance, consider All Clear by Connie Willis. This is a Time Travel SF that moves from a small town in the English countryside in WWII, to the evacuation at Dunkirk, to Bletchly Park, to the coastal defenses, to London during the Blitz. Time travelling protagonists see the era's awfulness and bravery through modern eyes.

Willis' use of London-as-a-character is clearest about midway through the book in scenes of the air attack on St. Paul’s Cathedral.

How does she do this? Well ... Lots of prior description of St. Paul's physicality. Vignettes of members of the Fire Guard. She purpose-builds two Cockney moppets for use in the Blitz subplot. The protagonist argues that destruction of the cathedral would be a final blow for British morale.

So. Not just extended metaphor. Setting can be a symbolic equivalence. Can clarify and add an emotional gloss. I find myself rooting for St Paul's as if it were an old friend.

 cf Tolkien's the "Cleansing of the Shire." Burnett’s Secret Garden.