For most of human history, 'literature,' both fiction and poetry, has been narrated, not written β 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.
Quite, quite,' she thought with a little sigh. 'It's always like this in their adventures. To save and be saved. I wish somebody would write a story sometime about the people who warm up the heroes afterward.
The novel that an author writes is often not the novel that the reader reads, and most of the 'messages' in a novel are put there by the reader. There's nothing wrong with that, of course. That's how literature functions.
A novel is not moral in the usual sense of the word. It can be called moral when it shakes us out of our stupor and makes us confront the absolutes we believe in.
Read with care, George Orwell's diaries, from the years 1931 to 1949, can greatly enrich our understanding of how Orwell transmuted the raw material of everyday experience into some of his best-known novels and polemics.
THE WRITER can get free of his writing only by using it, that is, by reading oneself. As if the aim of writing were to use what is already written as a launching pad for reading the writing to come. Moreover, what he has written is read in the process, hence constantly modified by his reading. The book is an unbearable totality. I write against a background of facets.
I demand that my books be judged with utmost severity, by knowledgeable people who know the rules of grammar and of logic, and who will seek beneath the footsteps of my commas the lice of my thought in the head of my style.
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