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They must go out of the theatre with the strength they live by strengthened from looking upon some passion that could, whatever its chosen way of life, strike down an enemy, fill a long stocking with money or move a girl's heart. ↗
During the next few years I wrote a series of Martian pensées, Shakespearean "asides," wandering thoughts, long night visions, predawn half-dreams. The French, like St. John Perce, practice this to perfection. It is the half-poem, half-prose paragraph that runs as little as one hundred words or as long as a full page on any subject, summoned by weather, time, architectural facade, fine wine, good victuals, a view of the sea, quick sunsets, or a long sunrise. From these elements one upchucks rare hairballs or a maundering Hamlet-like soliloquy. ↗
The conclusion of Dowell's narrative offers not a resolution, so much as a plangent confirmation of complexities. While Ford would certainly have agreed with Dowell that it is a novelist's business to make a reader 'see things clearly', his interest in clarity had little to do with simplicity. There is no 'getting to the bottom of things', no triumphant answers to the epistemological muddle offered in this beautiful, bleak story - only a finer appreciation of that confusion. We may remove the scales from our eyes, Ford suggests, but only the better to appreciate the glass through which we see darkly. ↗
Why else do we read fiction, anyway? Not to be impressed by somebody's dazzling language - or at least I hope that's not our reason. I think that most of us read these stories that we know are not 'true' because we're hungry for another kind of truth: The mythic truth about human nature in general, the particular truth about those life-communities that define our own identity, and the most specific truth of all: our own self-story. ↗
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