You can't quantify human pain the way you can measure out sugar. Death comes one individual at a time.
Yann MartelRead
If literature does one thing, it makes you more empathetic by making you live other lives and feel the pain of others. Ideologues don't feel the pain of others because they haven't imaginatively got under their skins.
Interpretation
Literature enhances empathy by enabling readers to experience other people's emotions and struggles.
This quote emphasizes the power of literature to cultivate empathy in readers. By immersing themselves in the stories of different characters, individuals can connect with the pain and joy of others, fostering a deeper understanding of human experiences. In contrast, ideologues, who adhere strictly to their beliefs, often lack this empathetic insight because they do not engage with perspectives outside their own, thus failing to perceive the emotional realities of others.
In practice
During a book club discussion on empathy and character development.
You can't quantify human pain the way you can measure out sugar. Death comes one individual at a time.
Come aboard if your destination is oblivion- it should be our next stop. We can sit together. You can have the window seat if you want. But it's a sad view.
Fiction and nonfiction are not so easily divided. Fiction may not be real, but it's true; it goes beyond the garland of facts to get to emotional and psychological truths.
The moon was a sharply defined crescent and the sky was perfectly clear. The stars shone with such fierce, contained brilliance that it seemed absurd to call the night dark.
I thought they were helping me. I was so full of trust in them that I felt grateful as they carried me in the air. Only when they threw me overboard did I begin to have doubts.
Art is a gift: you create and then you give away. How readers receive that gift is their business. If they hate it, that’s their response to it. Others respond by liking it. Either way, that is their interaction with the book, which is no longer mine.
People often ask me why my style is so simple. It is, in fact, deceptively simple, for no two sentences are alike. It is clarity that I am striving to attain, not simplicity. Of course, some people want literature to be difficult and there are writers who like to make their readers toil and sweat. They hope to be taken more seriously that way. I have always tried to achieve a prose that is easy and conversational. And those who think this is simple should try it for themselves.
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.
If one believes that words are acts, as I do, then one must hold writers responsible for what their words do.
I found literary idols in Adrienne Kennedy, Nella Larsen, and Ntozake Shange, writers who'd dared to locate a sanctioned, forbidden space between white vulnerability and black invincibility.
All great novels, all true novels, are bisexual.
Anyone who has the temerity to write about Jane Austen is aware of [two] facts: first, that of all great writers she is the most difficult to catch in the act of greatness; second, that there are twenty-five elderly gentlemen living in the neighbourhood of London who resent any slight upon her genius as if it were an insult to the chastity of their aunts.
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