The Bible is not interested in arguing, because if you state a thesis of belief you have already stated it's opposite; if you say, I believe in God, you have already suggested the possibility of not believing in him. [p.250]
Northrop FryeRead
A reader who quarrels with postulates, who dislikes Hamlet because he does not believe that there are ghosts or that people speak in pentameters, clearly has no business in literature. He cannot distinguish fiction from fact, and belongs in the same category as the people who send checks to radio stations for the relief of suffering heroines in soap operas.
Interpretation
Literature requires suspension of disbelief, and those who cannot do so should not engage with it.
Northrop Frye emphasizes that literature involves a unique engagement with reality and imagination, where readers must willingly set aside their disbelief to appreciate fiction. He criticizes those who critique literary works based on their inability to understand the context of the narrative, equating such readers to people who mistakenly take fictional stories at face value, thereby missing the essence of literary appreciation.
In practice
This quote can be shared in a literature class to spark discussion about interpreting fiction.
The Bible is not interested in arguing, because if you state a thesis of belief you have already stated it's opposite; if you say, I believe in God, you have already suggested the possibility of not believing in him. [p.250]
Literature is a human apocalypse, man's revelation to man, and criticism is not a body of adjudications, but the awareness of that revelation, the last judgement of mankind.
To bring anything really to life in literature we can't be lifelike: we have to be literature-like
The world of literature is a world where there is no reality except that of the human imagination.
We do not live in a centred space any more, but have to create our own centres.
Just as a new scientific discovery manifests something that was already latent in the order of nature, and at the same time is logically related to the total structure of the existing science, so the new poem manifests something that was already latent in the order of words.
I'm fighting against the bad poet who is prone to using too many words.
Non-fiction, and in particular the literary memoir, the stylised recollection of personal experience, is often as much about character and story and emotion as fiction is.
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.
As Faulkner says, all of us have the capacity in us for great good and for great evil, for love but also for hate. I wanted to write those kinds of complex character in a fantasy, and not just have all the good people get together to fight the bad guy.
There is something called the rapture of the deep, and it refers to what happens when a deep-sea diver spends too much time at the bottom of the ocean and can't tell which way is up. When he surfaces, he's liable to have a condition called the bends, where the body can't adapt to the oxygen levels in the atmosphere. All of this happens to me when I surface from a great book.
There's a thriving field of self-published stuff in, particularly, black fiction. I don't know that other groups of people of color have that same recourse.
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