Book Anatomy · Anne of Green Gables
Anne of Green Gables: Genre craft
15 lenses on genre craft for Anne of Green Gables by L.M. Montgomery. Count lenses are exact for our text. AI lenses are our reading and cite only quotes that passed a word for word check.
Jump to: G1 G2 G3 G4 G5 G6 G7 G8 G9 G10 G11 G12 G13 G14 G15
G1. Genre and subgenre, and how well the book fits. AI
The book is a coming-of-age story with strong fantasy and children's elements. It blends domestic realism with imaginative wonder. It fits the children's and literary genres well, with less emphasis on plot-driven adventure.
Chapters: Ch 1, Ch 15, Ch 27, Ch 38
G2. The genre's must have scenes: present or missing? AI
The genre requires a young protagonist learning and growing, which Anne does. It requires a safe home and mentors, provided by Marilla and Matthew. It requires friendship and belonging, shown through Diana. Peril is mild and emotional rather than physical.
Chapters: Ch 3, Ch 6, Ch 12, Ch 18, Ch 37
And up-stairs, in the east gable, a lonely, heart-hungry, friendless child cried herself to sleep. (Ch 3, para 68)
I solemnly swear to be faithful to my bosom friend, Diana Barry, as long as the sun and moon shall endure. (Ch 12, para 36)
Oh yes,” sighed Anne, blissfully unconscious of any sarcasm on Marilla’s part. “Oh Marilla, I’m the happiest girl on Prince Edward Island this very moment. (Ch 12, para 41)
G3. The genre's conventions: which are used? AI
The book uses the coming-of-age convention of a misfit finding home and family. It employs the mentor figures of Marilla and Matthew. It uses the kindred spirit trope with Diana. It includes the redemption arc from orphan to beloved daughter.
Chapters: Ch 3, Ch 6, Ch 12, Ch 24, Ch 38
So far as I’m concerned, Matthew, she may stay. (Ch 6, para 32)
I solemnly swear to be faithful to my bosom friend, Diana Barry, as long as the sun and moon shall endure. (Ch 12, para 36)
Oh yes,” sighed Anne, blissfully unconscious of any sarcasm on Marilla’s part. “Oh Marilla, I’m the happiest girl on Prince Edward Island this very moment. (Ch 12, para 41)
G4. Mystery: clue list, red herrings, fair play test. AI
4 clues. See the full lens on the book page.
G5. Thriller: clocks, chases and set pieces. AI
Not a feature of this book. There are no clocks, chases, or set pieces typical of thrillers. The pacing is gentle and reflective rather than urgent.
G6. Romance: the meeting, the barriers, the grand gesture. AI
Not a primary feature. Anne and Gilbert's relationship is a subplot, not the main romance. They meet in chapter 15 as rivals, clash repeatedly, and become friends only in chapter 38. There is no grand romantic gesture or traditional courtship.
Chapters: Ch 15, Ch 28, Ch 38
No,” she said coldly, “I shall never be friends with you, Gilbert Blythe; and I don’t want to be! (Ch 28, para 34)
I forgave you that day by the pond landing, although I didn’t know it. What a stubborn little goose I was. (Ch 38, para 55)
G7. Horror and gothic: how dread builds, when the monster is seen. AI
Not a feature of this book. There is no horror or gothic dread. Chapter 20 plays with Anne's imagined haunted wood, but it is treated lightly and resolved quickly.
Chapters: Ch 20
There’s a white lady walks along the brook just about this time of the night and wrings her hands and utters wailing cries. (Ch 20, para 26)
I’ll b-b-be contt-tented with c-c-commonplace places after this. (Ch 20, para 37)
G8. Science fiction: the new idea and its rules. AI
Not a feature of this book. There is no science fiction element or speculative world-building. The setting is realistic rural Prince Edward Island.
G9. Fantasy: moments of wonder, and the cost of magic. AI
Anne's imagination is treated as a gift and a liability. It brings wonder and creativity but also danger and embarrassment. The cost is learning to balance fancy with reality, shown through incidents like the haunted wood and the Lady of Shalott.
Chapters: Ch 8, Ch 14, Ch 20, Ch 27, Ch 28
There was scope for imagination here. (Ch 4, para 4)
Oh, Miss--Marilla, how much you miss! (Ch 8, para 19)
Anne blew a couple of airy kisses from her fingertips past the cherry blossoms and then, with her chin in her hands, drifted luxuriously out on a sea of daydreams. (Ch 8, para 60)
G10. Adventure: stages of the journey and physical trials. AI
Not a primary feature. The book is not structured as a physical journey. Anne's journey is emotional and spiritual, from orphan to beloved daughter, from vanity to self-acceptance.
G11. Literary: inner life and the moment of insight. AI
The book is strongly literary in its focus on inner life and moments of insight. Anne's growth in self-awareness is central. Chapter 27 shows insight about vanity. Chapter 29 shows insight about growing up. Chapter 38 shows insight about duty and love.
Chapters: Ch 27, Ch 29, Ch 31, Ch 38
That’s the worst of growing up, and I’m beginning to realize it. The things you wanted so much when you were a child don’t seem half so wonderful to you when you get them. (Ch 29, para 25)
It’s nicer to think dear, pretty thoughts and keep them in one’s heart, like treasures. (Ch 31, para 24)
When I left Queen’s my future seemed to stretch out before me like a straight road. I thought I could see along it for many a milestone. Now there is a bend in it. (Ch 38, para 26)
G12. Children's: age of the lead, level of peril, humour. AI
Anne is eleven at the start and eighteen at the end. Peril is emotional and social rather than physical, though chapter 23 includes a broken ankle and chapter 28 includes near-drowning. Humour is gentle and character-driven throughout.
Chapters: Ch 2, Ch 23, Ch 28, Ch 38
A child of about eleven, garbed in a very short, very tight, very ugly dress of yellowish-gray wincey. (Ch 2, para 14)
Anne Shirley,” reluctantly faltered forth the owner of that name, “but, oh, please do call me Cordelia. (Ch 3, para 20)
WHAT a splendid day!” said Anne, drawing a long breath. “Isn’t it good just to be alive on a day like this? (Ch 15, para 1)
G13. Plays: entrances, exits and stage time per character. Count
Not a play. See the cast and speech lenses for who is on the page.
G14. Where the book bends or breaks its genre's rules. AI
The book bends the children's genre by ending with Anne's sacrifice of ambition for duty, a mature theme. It also includes genuine grief and loss in chapter 37, which is darker than typical children's fiction. The tone is more literary than plot-driven.
Chapters: Ch 37, Ch 38
It was the last night before sorrow touched her life; and no life is ever quite the same again when once that cold, sanctifying touch has been laid upon it. (Ch 36, para 43)
Anne looked at the still face and there beheld the seal of the Great Presence. (Ch 37, para 9)
You won’t have to stay here alone, Marilla. I’ll be with you. I’m not going to Redmond. (Ch 38, para 19)
G15. Tropes present, with where they appear. AI
Tropes include the orphan finding home (chapters 2 to 6), the kindred spirit friendship (chapter 12), the rival becoming friend (chapter 38), the mentor figures (chapters 3 to 38), and the coming-of-age arc (chapters 1 to 38). The red hair shame trope appears in chapters 9, 15, and 27.
Chapters: Ch 2, Ch 6, Ch 9, Ch 12, Ch 15, Ch 27
Anne Shirley,” reluctantly faltered forth the owner of that name, “but, oh, please do call me Cordelia. (Ch 3, para 20)
I solemnly swear to be faithful to my bosom friend, Diana Barry, as long as the sun and moon shall endure. (Ch 12, para 36)
No,” she said coldly, “I shall never be friends with you, Gilbert Blythe; and I don’t want to be! (Ch 28, para 34)
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