Different perspectives in writing and speaking create distinct moods and tones to convey information to the audience. The four categories of narrative perspective in literature are first person, second person, partial third person, and third person omniscient (Wyile ​​185). The first person uses the personal pronoun "I" to intimately connect the audience to the narrator, and the third person uses the personal pronouns "he" and "she" to describe the lives of others through the perspective of an omnipresent narrator. The second person forms a bridge between the first and third person, the most commonly used perspectives in literature. You're not the type of guy who would be in a place like this at this time of the morning. But there you have it, and we cannot say that the terrain is completely unknown, even if the details are vague. You're in a nightclub talking to a girl with a shaved head. The club is either Heartbreak or the Lizard Lounge. Everything might become clear if you could just slip into the bathroom and make some more Bolivian walking powder. Then again, this may not be the case. A little voice inside you insists that this epidemic lack of clarity is already the result of too much of this. (McInerney 1) In the world of prose, readers least often find delicately woven stories with the fine threads of character development intertwined with the strings of plot written from the second-person point of view. The second person perspective, the you perspective, combines the personal aspect of the first person with the distant tone of the third person (Schofield 13) to create a blurred middle narrative voice. The blurred quality of second-person narration creates an ideal atmosphere for narrator and narratee to develop their identities together. So that...... middle of paper ......is the third relationship to tell of Jean-Baptiste Clamence story in The Fall.Works CitedWyile, Andrea Schwenke. “Expanding the vision of first-person narration.” Children's Literature in Education 30.3 (1999): 185-202. Literary reference center. Web. McInerney, Jay. Bright Lights, Big City: A Novel. New York: Vintage, 1987. Print. Schofield, Dennis. The second person: a point of view? The function of the second person pronoun in narrative prose fiction. Diss. Deakin University, Victoria, 1998. Print. Mildorf, Jarmila. “Second Person Narration in Literary and Conversational Storytelling.” Storyworlds: A Journal of Narrative Studies 4 (2012): 75-98. Print. Richardson, Brian. Unnatural voice: extreme narration in modern and contemporary fiction. Columbus: Ohio State UP, 2006. Print. Camus, Albert and Justin O'Brien. The Fall. New York: AA Knopf, 1956. Print.