No machines will ever truly fully figure the brain out, because the brain's performance is constantly altered or else constrained by this inanimate, rogue artifact you can't control, namely, speech.
Tom WolfeRead
The problem with fiction, it has to be plausible. That's not true with non-fiction.
Interpretation
Fiction requires believability, while non-fiction is based on real events and facts.
Tom Wolfe highlights a fundamental difference between fiction and non-fiction in this quote. In fiction, the narrative must maintain a certain level of plausibility to resonate with readers and feel authentic, while non-fiction, grounded in reality, doesn't face the same constraints and can deal with complexities and absurdities that are true to life.
In practice
In a literature class discussing the boundaries of genre.
No machines will ever truly fully figure the brain out, because the brain's performance is constantly altered or else constrained by this inanimate, rogue artifact you can't control, namely, speech.
And - of course! - the Non-people. The whole freaking world was full of people who were bound to tell you they weren't qualified to do this or that but they were determined to go ahead and do just that thing anyway.
The whole conviction of my life now rests upon the belief that loneliness, far from being a rare and curious phenomenon, peculiar to myself and to a few other solitary men, is the central and inevitable fact of human existence.
Driving a stock car does not require much handling ability, at least not as compared to Grand Prix racing, because the tracks are simple banked ovals and there is almost no shifting of gears. So, qualifying becomes a test of raw nerve - of how fast a man is willing to take a curve.
I have discovered that for me - now, maybe it doesn't work for everybody - for me, it is much more effective to arrive at any situation as a man from Mars than to try to fit in.
There has been a time on earth when poets had been young and dead and famous - and were men. But now the poet as the tragic child of grandeur and destiny had changed. The child of genius was a woman, now, and the man was gone.
'Drown' was always a hybrid book. It's connected stories - partially a story collection but partially a novel. I always wanted the reader to decide which genre they thought the book belonged to more - story, novel, neither, both.
I think often people don't realize the great diversity of Southern writing because in their minds, if you're not from the South, it can seem regional and small, and of course that's not the case at all when you start to read the work.
I emphasize the distinction between brackets and no brackets because it will affect your reading experience, if you will allow it. Brackets are exciting. Even though you are approaching Sappho in translation, that is no reason you should miss the drama of trying to read a papyrus torn in half or riddled with holes or smaller than a postage stamp--brackets imply a free space of imaginal adventure.
When I am experiencing a complex story or novel, the broader planes, and also details, tend to fall away.
It perhaps might be said--if any one dared--that the most worthless literature of the world has been that which has been written by the men of one nation concerning the men of another.
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.
Subscribe for the occasional hand-picked quote. No noise.