Abstract

This paper examines Webster's Daddy-Long-Legs (1912) by applying narrative theory to demonstrate how the epistolary form enables the protagonist, Jerusha Abbott, to construct her identity and assert her agency. By employing Gérard Genette’s notion of focalisation, which highlights the movements that occur between the voice of the narrator and the voice of the focaliser, alongside Janet Altman’s model of the epistolary as a terrain of voices in dialogue with one another, the analysis shows that Jerusha’s letters transform from letters of controlled performativity to expressions of her voice. Genette’s model of narrative discourse, particularly his typology of temporal ellipses and internal focalization, is revealed through omissions in Jerusha’s correspondence, providing evidence of her increasing freedom from her benefactor’s oversight. Altman’s emphasis on the “double-directed” nature of letters—simultaneously friendly and performative—highlights Jerusha’s strategic use of the epistolary form to negotiate power and maintain her identity. While previous studies often approached this novel from a coming-of-age perspective, this study fills a significant gap by placing its experimental narrative form at the forefront of its thematic relevance. Key findings indicate that Jerusha’s early, limited focalisation constrains readers' access to her mind. Meanwhile, her growing control over pacing and dialogic address subverts patriarchal authority, allowing her to use letters as a means of self-discovery. The paper contributes to narrative theory by positioning Daddy-Long-Legs as a case study demonstrating how the epistolary form can destabilise hierarchical relationships through structural choices alone.