For most of human history, 'literature,' both fiction and poetry, has been narrated, not written — heard, not read. So fairy tales, folk tales, stories from the oral tradition, are all of them the most vital connection we have with the imaginations of the ordinary men and women whose labor created our world.
Interpretation
Literature has historically been shared orally, connecting us to the creativity of everyday people.
Angela Carter's quote emphasizes the significant role of oral storytelling in human history, asserting that literature, including fairy tales and folk tales, is deeply rooted in the traditions of common people. By focusing on the oral tradition, Carter highlights how these narratives preserve the imaginations and experiences of those who shape our world, showcasing their importance in connecting us to our collective history and culture.
In practice
During a lecture on the importance of oral history, I will quote Carter to emphasize the value of storytelling.
She stands and moves within the invisible pentacle of her own virginity. She is an unbroken egg: she is a sealed vessel; she has inside her a magic space the entrance to which is shut tight with a plug of membrane; she is a closed system; she does not know how to shiver.
Cities have sexes: London is a man, Paris a woman, and New York a well-adjusted transsexual.
Those are the voices of my brothers, darling; I love the company of wolves.
Iconic clothing has been secularized. . . . A guardsman in a dress uniform is ostensibly an icon of aggression; his coat is red as the blood he hopes to shed. Seen on a coat-hanger, with no man inside it, the uniform loses all its blustering significance and, to the innocent eye seduced by decorative colour and tactile braid, it is as abstract in symbolic information as a parasol to an Eskimo. It becomes simply magnificent.
To pin your hopes upon the future is to consign those hopes to a hypothesis, which is to say, a nothingness. Here and now is what we must contend with.
I haven't changed much, over the years. I use less adjectives, now, and have a kinder heart, perhaps.
the association of children and fairy-stories is an accident of our domestic history. Fairy-stories have in the modern lettered world been relegated to the “nursery,” as shabby or old-fashioned furniture is relegated to the play-room, primarily because the adults do not want it, and do not mind if it is misused.
I've gained a lot from James Joyce, Tolstoy, Chekhov and R. K. Narayan. While writing, I try to see if the story is going to radiate spokes. Their literature has always done that and gifted me beautiful things.
It is not the voice that commands the story: it is the ear.
I am not going to get into it myself, except to say (1) if I am writing "boy fiction," who are all those boys with breasts who keep turning up by the hundreds at my signings and readings? and (2) thank you, geek girls! I love you all.
Give me a story that just makes me unreasonably vigilant. Keep me up till five only because all your stars are out, and for no other reason.
Rueful, bittersweet, funny, written with tenderness and bite, Merrill Feitell's stories, like so many classic short stories, are made from the plain and painful stuff of this world, and haunted by the possibility, and the impossibility, of a better one.
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