Almost nobody believes anymore that infants are insensate blobs. It seems both mad and evil to deny experience and feeling to a laughing, gurgling creature.
Paul BloomRead
Enjoying fiction requires a shift in selfhood. You give up your own identity and try on the identities of other people, adopting their perspectives so as to share their experiences. This allows us to enjoy fictional events that would shock and sadden us in real life.
Interpretation
Fiction allows us to escape our own identity and empathize with others' experiences.
This quote by Paul Bloom emphasizes the transformative nature of engaging with fiction. It suggests that immersing ourselves in fictional narratives allows us to leave behind our personal identities and adopt those of the characters, enabling us to explore a vast array of emotions and experiences that we might not encounter in our everyday lives. By doing so, we can appreciate complex narratives and events that, if they occurred in reality, may be too distressing to process.
In practice
Using this quote in a literature class to discuss the power of storytelling.
Almost nobody believes anymore that infants are insensate blobs. It seems both mad and evil to deny experience and feeling to a laughing, gurgling creature.
Maybe one of the most heartening findings from the psychology of pleasure is there's more to looking good than your physical appearance. If you like somebody, they look better to you. This is why spouses in happy marriages tend to think that their husband or wife looks much better than anyone else thinks that they do.
If you look within the United States, religion seems to make you a better person. Yet atheist societies do very well - better, in many ways, than devout ones.
I want to convince you that humans are, to some extent, natural born essentialists. What I mean by this is we don't just respond to things as we see them or feel them or hear them. Rather, our response is conditioned on our beliefs, about what they really are, what they came from, what they're made of, what their hidden nature is.
We benefit, intellectually and personally, from the interplay between different selves, from the balance between long-term contemplation and short-term impulse. We should be wary about tipping the scales too far. The community of selves shouldn't be a democracy, but it shouldn't be a dictatorship, either.
A sympathetic parent might see the spark of consciousness in a baby's large eyes and eagerly accept the popular claim that babies are wonderful learners, but it is hard to avoid the impression that they begin as ignorant as bread loaves.
Early on my career, I figured out that I just have to write the book I have to write at that moment. Whatever else is going on in the culture is just not that important. If you could get the culture to write your book, that would be great. But the culture can't write your book.
Often I don't know what the song means until it's finished. Sometimes months later. I don't think that's bad. It implies that I don't know what I'm doing but-I think if you're able to follow your instincts, then that's knowing what you're doing.
The strange dilemma of the 'ethnic-fiction' writer is that you are supposed to carry a banner for your homeland, be a voice for it, and educate the rest of the world about it, but I think that's far too onerous a burden for any writer to bear.
All objects, all phases of culture are alive. They have voices. They speak of their history and interrelatedness. And they are all talking at once!
A poem should not mean but be.
The vast majority of writers out there, they finish their books and no one cares whether their book is late or ever comes out at all. And then it comes out and two reviews are published and it sells 12 copies.
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