In the eyes of Alain Bublex, it appears to be not only the time and place for a certain visibility given to a work but also a kind of break, a moment of suspension
of the work: in other words, a temporary adjustment, the provisional immobilization of something in constant evolution, which will go on its way once again when the exhibition is over.
In many of her short stories that timeless moment of suspension makes its appearance and cries out, casting heroes and heroines into a sort of voiceless despair.
Bertha's cry of despair marking the turning point, the climax of the short story, presents the narration as a pretext, a prelude to that moment of suspension that Bertha's cry ultimately suggests, and to which the pear tree in its almost supernatural stillness bears witness.
The passage between temporal and a-temporal dimension, the shifting from time to 'spatial form,' which are, as Joseph Frank (9) points out, the very characteristics of Modernist literature, enact the moment of suspension when the character is in Mansfield's words 'flung up, out of life,' is 'held' to fall down and break.
What is interesting to note is that the moment of suspension which marks the internal crisis of plot in modern fiction entails in Mansfield's writing both the achievement of a climax within the story and the hint of the subsequent sloping down of the line, drawn by the narrative hyperbole, which is the prelude to the character's atomisation.
In all of them the moment of suspension is veiled by the perception of the vertigo which seems to form a revealing feature of her characters.
The young people's comment overheard by Miss Brill sparks off what will be the moment of suspension perceptible by the slow-down of the narrative rhythm in Miss Brill's return home:
That moment of suspension is eventually enacted in the text, drawing the reader's attention, through the vertigo effect created by the sudden quick rhythm of the last image and furthermore highlighted by the fur's cry of despair:
Yet such an oversimplified relationship cannot possibly account for that moment of suspension when the character is 'flung--out of life' and 'held' as if at the very edge of a precipice.
marks that moment of suspension which usually coincides with the climax of the short story, and thus is placed by the writer at the conclusion of the narration, whereas here it seems as if the story started from the end.
The passage of the ship marks in the story that moment of suspension when time can either be erased or be disposed of with more freedom, that is considering it in Henri Bergson's terms as interior time.