These where the days of the 1950s and 60s when Western societies were stable, economies were growing. George's stories still echos this prospect of harmony but only in a very superficial form. In this sense he is an adolescent of the nineties and it seems correct to call his story a nostalgic moratorium narrative. It sticks to a model of reconciliation which empirically is very much to be doubted. The strategy narrative of Paula, on the other hand, seems to correspond to Wagner's analysis of a late modernity charcterized by processes of social disembedding.
Life has no longer a built-in principle of harmony.
There is no way to develop a master plan, the contingencies of life being as they are. Paula insists though that within this strategic proceeding it is still possible to experience oneself as an actor. The problem within this type is the time perspective. It is not produced by the logic of the story itself. Insofar the actor is within the story, he has no longer a place solely above it.