Daniel Orozco’s “Orientation”

The new employee is unimportant in Daniel Orozcos Orientation The short stratum Orientation by Daniel Orozco is a unique falsehood. Orozco neer introduces the fibber or the audience. The story appears to be, just as the title specifies, an orientation for a somebody entering a new job. The story, however, delves deep into the lives of several employees throughout the story. The lives of these employees and their inter movements break the most important part of Orozcos work and the main patch that is being spoken to becomes an unimportant observer in an intricate atmosphere. The story is told in the first person voice.The storyteller is talking to one position person He refers to this character in the second person voice. This is your phone. The fabricator is talking directly to the new employee, the main character. The main character never calls. It is implied that dialogue exists. That was a good wonder. Feel free to make questions. The fibber has acknowledged that t he listener has asked a question. The ratifier never actually sees the question that the listener asks, though. Instead, the vote counter rephrases the listeners question and repeats it behind to him. By having the cashier do this, Orozco makes the listener less important.His/her dialogue is non counterbalance out important enough to include in the text and must be repeated by the narrator in order to be include in the story. However, contradictory to the listeners seemed unimportance, the narrator urges the listener to ask more questions. The specific job that the listener is being oriented to is not important to the story, either. The setting is a generic office atmosphere. These are the offices and these are the cubicles. By using this stereotypical and conventional setting, Orozco makes the things that happen to individual employees even more outrageous.The outrageous events create a contrasting tone. The typical office orientation situation is invaded by shocking situa tions such as Amanda stuffs. Pierces husband subjects her to an escalating array of aching and humiliating wind games. Describing real personal aspects of an employees life creates a very uneasy olfactory modality in this situation. This type of information is not supposed to be talked about in an office setting. Adding to the inappropriateness of the information, this could very well be the first meeting between the narrator and the listener.It is highly unusual to speak of sexual escapades in a business setting alone, and it could be very embarrassing to either party. Because it is possible that this is the first meeting between the narrator and the listener, the narrator does not know how comfortable the listener will be with the information, and is risking embarrassing the listener by divulging it. The narrator keeps a professional childs play about him, which makes the information that he is giving seem very important. The narrator makes no sexual comments about Pierces situation he merely states what her husband does to her.The narrator also speaks frankly of what the listener gouge and cannot do There are no personal phone calls allowed. The narrator goes on to tell the consequences of doing something that is prohibited. If you make an emergency phone call without asking, you may be let go. This straightforward method of speaking also creates a professional feeling, which adds to the contrast in the story between the professional feeling and the uncomfortable, mysterious feeling. The blunt detail used by the narrator adds to the uncomfortable, painful sense of the work environment. Anika Blooms left palm began to bleed.She send packing into a trance, stared into her hand, and told Barry Hacker when and how his wife would die. The details make the employees lives seem surreal. The reader is told that Anika Blooms palm begins to bleed, but the reason for the blood is not given. The blood is the only important detail because it signifies pain and suffering. Other run-in such as fell and stare create a distanced, temporary feeling. Even more disturbing is the line that signifies when someone will die. Orozco painfully jolts the reader back to reality, the office setting, no matter how disturbing the expound experiences of an employee have been.This is evident in the passage about Kevin Howard, the serial killer. The havoc inflicted is precise the angle and direction of the incisions the layering of skin and muscle tissue the rearrangement of the nonrational organs and so on. Kevin Howard does not let whatsoever of this interfere with his work. He is, in fact, our fastest typist. The disturbing description of the serial killer is recited without any waver whatsoever away from the intent only to divulge information. The narrator makes no personal comment and expresses no opinion about Howard.After the narrator has given the information to the listener, the narrator leads the train of thought right back to the work en vironment. The idea of a horrible mass murderer is stop by his typing ability. This continued contrast now goes past fallacious and borders on psychotic. The far-fetched is made believable only because of the narrators discern professional facade. By itself, speaking of a mass murderers typing ability does seem psychotic, but the narrator has so entirely described every aspect of the listeners new environs that any individual part of the surrounding does not seem excessively important.The characters are merely present and described as they are. This description does not affect any character, so there is no real action to be deemed unusual, unstable, or psychotic. The description is the only important part of the story. Orozco uses both a professional tone and a dark, uncomfortable-feeling description to create a highly contrasting reality between the work setting and severally characters personal life.