Thus, so far, it seems that the narrative voice reflects the events from an objective and distant perspective, as suggested by the sparse use of imperative and interrogative clauses and the high presence of declarative mood structures.
The above-mentioned lack of interaction is sometimes also reflected, to a certain extent, in the visual part, in correspondence with the declarative mood structures chosen by Potter, as there is a predominance of offers and long-shots.
Wilson and Sperber take as illocutionary indicators the imperative and interrogative mood (and presumably the declarative mood as well although they do not include it), along with the English question particle eh and the dissociative particle huh.
Encoded by the word oh are the explicatures "I heard you" and "I understood you" and, with the normal intonation, the declarative mood as well.
In contrast, Reverend Misner and the younger generation need to open up the town to change, to allow room for themselves and for new ideas, so they want a more participatory, New Testament relationship with God: "Be the Furrow of His Brow." Their further shift from "Be the Furrow" to "We Are the Furrow" (298), with its replacement of the imperative by the declarative mood, implies that they are indeed engaging in this participation, that they are explicitly joining with each other, with the othe r participants in the novel, and with the cosmos in a mutually ongoing process of creativity.