Reliable? What kind of fiction is the Foreword?

[Terrance]

bells for whom? 
bull fighting in spain
formal gatherings for social dancing? 
or self inflicted wounds? 



camera-eye narration:  

The purely external or 'behaviourist' representation of events; a text
that reads like a transcription of a recording made by a camera.
Originally, the term was appropriated from the introductory paragraph of
Christopher Isherwood's Goodbye to Berlin (quoted below); today, the
term is more often used as a metaphor of strictly 'neutral' types of
heterodiegetic narration. Stanzel (1955: 28) briefly toyed with the
notion of a separate category of 'neutral narration' but eventually
subsumed this under figural narration; however, 'neutral narrative' is
still an active category in Lintvelt's (1981) model, where it is
characterized by covert narration, absence of inside views, and the
point of view of a stationary camera. The standard example is
Hemingway's "The Killers" (see below). Pouillon (1946: ch. 2)
[introduction of the concept of outside view (vision du dehors)];
Friedman (1967[1955]: 130-131); Genette 1980 [1972]: ch. 4; Genette 1988
[1983]: ch. 11 ['external' focalisation]; Lintvelt (1981: ch. 3)
[neutral narrative]. Examples: 

     From my window, the deep solemn massive street. Cellar-shops where
the lamps burn all day, under the shadow of top-heavy balconied facades,
dirty plaster-frontages embossed with scroll-work and heraldic devices.
[...] 
I am a camera with its shutter open, quite passive, recording, not
thinking. Recording the  man shaving at the window opposite and the
woman in the kimono washing her hair. Some day, all this will have to be
developed, carefully printed, fixed. (Isherwood, Goodbye to  Berlin) 
 The door of Henry's lunch-room opened and two men came in. They sat
down at the counter. 
        "What's yours?" George asked them. 
        "I don't know," one of the men said. "What do you want to eat,
Al?" 
        "I don't know," said Al. "I don't know what I want to eat." 
        Outside it was getting dark. The street-light came on outside
the window. The         two men at the counter read the menu. Nick Adams
watched them. He had been talking to George when they came in.
(Hemingway, "The Killers") 

The concluding sentences of the Hemingway excerpt make it easier to
understand why Stanzel decided to subsume neutral narration under
figural narration. For narratological approaches to the Hemingway story,
see Fowler (1977: 48-55); Rimmon-Kenan (1983); Lanser (1981: 264-276);
Chatman (1990). 

Posted previously, 

Narratology: A Guide to the Theory of Narrative 
Manfred Jahn