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As for the square at Meknes, where I used to go every day, it's even simpler: I do not see it at all anymore. All that remains is the vague feeling that it was charming, and these five words that are indivisibly bound together: a charming square at Meknes. … I don't see anything any more: I can search the past in vain, I can only find these scraps of images and I am not sure what they represent, whether they are memories or just fiction.
What are the hallmarks of a competent writer of fiction? The first, it seems to me, is that he should be immensely interested in human beings, and have an eye sharp enough to see into them, and a hand clever enough to draw them as they are. The second is that he should be able to set them in imaginary situations which display the contents of their psyches effectively, and so carry his reader swiftly and pleasantly from point to point of what is called a good story.
Science fiction writers foresee the inevitable, and although problems and catastrophes may be inevitable, solutions are not.
A dialogue between fictional characters Sagredo (named after Galileo's friend Giovanni Francesco Sagredo), Salviati (named after Galileo's friend Filippo Salviati) and Simplicio (named after long dead philosopher Simplicius of Cilicia), from the translations by(1953), unless otherwise noted.
The God of the Old Testament is arguably the most unpleasant character in all fiction: jealous and proud of it; a petty, unjust, unforgiving control-freak; a vindictive, bloodthirsty ethnic cleanser; a misogynistic, homophobic, racist, infanticidal, genocidal, filicidal, pestilential, megalomaniacal, sadomasochistic, capriciously malevolent bully. (pg. 31)
must ofbethan… for fiction is the creation of the human , and therefore is congenial to it.
Nothing is more important than the formation of fictional concepts, which teach us at last to understand our own.
Everyone is mistaken, everyone lives in illusion. At best, we can admit a scale of fictions, a hierarchy of unrealities, giving preference to one rather than to another; but to chose, no, definitely not that...
Never unreal, Pain is a challenge to the universal fiction. What luck to be the only sensation granted a content, if not a meaning!
First, think in as homely a way as you can; next, shove your pen under the thought, and lift it by polysyllables to the true level of fiction
The more I deepen the topic of regions (I'm in Milan for this reason), and the more I am dismayed by having to write about it. Little is needed to understand that what these Lombard regionalists are pursuing, knowingly or unknowingly, is a Cisalpine secessionist plan. And, once they've had the instrument, they'll manage to realize it. It isn't for no reason that Bassetti speaks already no longer of "! It wasn't but a fiction, agreed, and in practice it has failed. But with what will we replace it?
The symmetry of form attainable in pure fiction can not so readily be achieved in a narration essentially having less to do with fable than with fact. Truth uncompromisingly told will always have its ragged edges...
The necessity for fiction was probably born of the problem of taboo on certain revelations. It was not only a need of the imagination but an answer to the limitations placed on portrayal of others.
By and large, serious fiction was the work of victims who portrayed victims for an audience of victims who, it was oddly assumed, would want to see their lives realistically portrayed.
Professor Richard N. Current fusses, not irrelevantly, about the propriety of fictionalising actual political figures. I also fuss about this. But he has fallen prey to the scholar-squirrel's delusion that there is a final Truth revealed only to the tenured few in their footnote maze; in this he is simply na
Life is infinitely stranger than anything which the mind of man could invent. We would not dare to conceive the things which are really mere commonplaces of existence. If we could fly out of that window hand in hand, hover over this great city, gently remove the roofs, and peep in at the queer things which are going on, the strange coincidences, the plannings, the cross-purposes, the wonderful chains of events, working through generations, and leading to the most outre results, it would make all fiction with its conventionalities and foreseen conclusions most stale and unprofitable.
The quality of feeling is the true psychical representative of the first category of the immediate as it is in its immediacy, of the present in its direct positive presentness. Qualities of feeling show myriad-fold variety, far beyond what the psychologists admit. This variety however is in them only insofar as they are compared and gathered into collections. But as they are in their presentness, each is sole and unique; and all the others are absolute nothingness to it — or rather much less than nothingness, for not even a recognition as absent things or as fictions is accorded to them. The first category, then, is Quality of Feeling, or whatever is such as it is positively and regardless of aught else.
I am drawn, as a reader, to detail-drenched stories about human lives affected as much by the internal as by the external, the kind of fiction that Jane Smiley nicely describes as 'first and foremost about how individuals fit, or don't fit, into their social worlds.'
Whenever you have two characters in a book, whether it's a novel or nonfiction, you run the risk that the reader is going to like one more than the other. They're going to read one chapter and say, 'I can't wait to get back to the other guy.'
Contrary to common belief, Christian fiction did not begin with Catherine Marshall, Janette Oke, or Frank Peretti.
Money doesn't mind if we say it's evil, it goes from strength to strength. It's a fiction, an addiction, and a tacit conspiracy.
All writers of fiction will at some point find themselves abandoning a piece of work - or find themselves putting it aside, as we gently say.
It's always a mixture of fiction and your own story. It's more I recreate atmospheres and moods through songs.
If you make a movie about Elizabeth I, how much of the dialogue is her real words? Audiences know when they go see a movie that it is fiction.
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