Childhood is a story of initiation with autobiographical characteristics regarding the content of the text. However, unlike the conventional narratological model of most autobiographies (first person, past tense), the narrator in Boyhood is an omniscient third person, speaking in the present tense. The use of the pronouns: "he", "his mother", "his father" and "his brother", rather than their names, imposes a sparse and universal feeling, but at the same time, Coetzee as an individual, is evident and distinct. The fictional memoir is a combination of both authorial and figural narrative situations: the heterodiegetic narratological structure provides distance, a distancing from the subject, but through psycho-narration we, as the implicit reader, are provided with a limited perspective within of Coetzee's adolescent portrayal. The interesting question is why Coetzee tells his story in the third person. I believe this is a way to simulate a partitioned consciousness: the protagonist experiences mental stress with the training difficulties he faces. Coetzee is an anti-naturalist: his hyper-conscious approach to history actively opposes the effort to identify reliable truths or certainties. The implied reader is on guard from the first line of the first page: “They live in a housing estate outside the city of Worcester...” Immediately the reader questions the author's choice to write about himself and his family in third person; narrative perspective is conveyed as evasive and elusive, the possibilities of myriad multiple accounts and interpretations. I believe the reasoning behind this narrative form has mainly to do with distance: the distance in time between the adult writing the book and the child represented in it... in the center of the paper... or a spectator objective. (with the reader implied), yet the figural narrative structure clearly illustrates his perceived self and personality as he grows up, accessing his feelings and thoughts. He shares with the reader his life experiences, which have helped shape the man he is today, from an observer's point of view, almost as if he were observing his now distant self. It seems that author Coetzee wanted it to feel more like a description of his childhood than actual childhood. Perhaps it was more comfortable to write about himself as a "he", imposing on himself the feeling that it was someone else's biography. Indeed, Boyhood may well be "someone else's biography": we are shown not the author, but the carefully crafted self-projection of a boy the author once was, allowing the implied reader to examine, sympathize, and evaluate Coetzee's past life..