The conventional descriptions of plot-driven or character-driven structures do not really apply to Calendar. There is a journey to photograph churches for a calendar, but the character's struggle is not so much with the pictures as it is with his resistance to being in Armenia. He is there physically, but emotionally he is consistently backing away. Back in Canada we see the actual calendar (the published calendar serves as a transition device between the visit to take the pictures and the present in Canada). In Canada, the character tries to relate to women (as his guests), but each rejects him. The fact that they speak their native language on the phone implies that his bland Canadian presentation does not engage them. Consequently, there is no development in the relationship dimension of the narrative.
The photography seems a professional success. Having taken the pictures he went to take and thus achieving success, he appears to fail on the personal front—with his wife in Armenia and with these various women in Canada. In a sense his limited engagement with the places he has photographed (Armenia) implies a personal unease about who he is (identity).
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