“The Island at Noon” by Julio Cortazar follows the main character Marini, who works as a flight attendant flying over the Aegean Sea and wishes to travel to an island that look at the window. However, when he arrives on the island, although he finds it as beautiful as he thought, the story ends with his ambiguously staged death. This uncertainty, and the fact that the reader is not allowed to fully experience it through Marini's eyes, leads them to wonder what happened. Did Marini die on the plane or on the island? Did the plane crash? What happens to the mind after death? To delve deeper into the previous question, what would happen if you died while dreaming? To explore this idea, Cortazar wrote the story solely from Marini's point of view, preventing readers from gaining outside knowledge of the situation. He limits the written dialogue to the beginning, before the idea of ​​playing with reality is raised, and concludes with what he thinks might happen if one were unable to distinguish between truth and fiction. Cortazar wrote from Marini's point of view to limit the reader's ability to accurately distinguish between reality and fantasy and to show the danger of getting stuck in a dream and forgetting to live. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essayCortazar only shows the reader Marini's perspective to keep them in the dark about what exactly is happening. One of the last dialogues is said by a stewardess to our main character: “It won't last five years… Hurry if you're thinking of going, the hordes will arrive any moment. Genghis Cook is watching” (91-92). This snippet of conversation provides the reader with no new information that would not be provided later and only accelerates the realization that Marini wishes to go to the island. Dialogue is often crucial in providing information about secondary characters or, more importantly for this story, the main characters. Cortazar's decision to exclude further conversations mentioned in the story from then on confines the reader to Marini's point of view and his perception of the world, both through the lens of fantasy and the cold truth of reality. The previous conversation also remained mostly fact-based as Marini tries to figure out which island, in particular, he keeps noticing at midday: “Those islands all look alike. I've been on this path for years and I don't give a damn about them. Yes, show me next time” (91). Again, this information may have been derived from the fact that only Marini took a predetermined time from his job to visit the city, and that none of the others ever stopped to pay attention to Horos or Xiros, or any other island. Furthermore, on the island itself, there is only one explicitly spoken word, “Kalimera” (meaning good morning), keeping the island and the people as unknown as possible. The reader does not know what Klaios thinks of Marini, what words Ionas teaches Marini. Due to this lack of conversation, we only know Marini's perspective and cannot compare it to that of the other characters and therefore are unable to distinguish between reality and fantasy. On the last page, the reader receives the final piece of dialogue in the story; a woman who says "Close your eyes" after following Klaios and his children to locate a body on the beach. In this moment, both the reality of death and the island fantasy have created a new reality of being dead on the island. Because Marini is dead, he no longer has fantasies. It just has its own reality, signified by the woman speaking. Marini's limited point of view prevents readers from.