Alice Munro is a Canadian short story writer and Nobel Prize Winner. In her article “What is Real”, Alice Munro discusses the difficulty many of her readers seem to have in telling fact from fiction as she writes about her own fictional works. Her readers, she recounts, often ask her if she writes about real people, or real events, apparently unable to comprehend “the difference between autobiography and fiction” (Munro). However, by the end of her article on the subject, “What Is Real?” Munro admits that the imagination is one she herself often blurs. “Yes,” she writes, “I use bits of what is real, in the sense of being really there and really happening, in the world, as most people see it, and I transform it into something […] in my story” (Munro). In other words, Munro sees her work as a kind of fiction because she uses both reality and fact. This makes her work honest but yet not real at the …show more content…
Why does Munro struggle to articulate how she uses reality in fiction? Why is reality so important to Munro as a fictional writer? I think the difficulty Munro encounters, both among her readers and her own efforts to explain what she means, is exactly the problem Doniger identifies when she writes that “the stories that assume a mere duality of selves — self versus mask — imagine pairs that are mutual referents of one another […] But even the dualistic toggle, if it happens more than once, destabilizes the dualistic paradigm” (Doniger). In short, Doniger’s argument is that a mask-self (or falsehood-truth) separation of human beings is simple and easy to understand, but is inadequate for truly describing the relationship of truth to fiction, or masks to self. Munro, then, is grappling with Doniger's simplistic and inadequate “human separation” when she tries and fails to explain the distinction between her truth in her fiction. There is no black and white here, not in Doniger’s world, nor in Munro’s writing
For example, in fiction writing, as long as the details are organically placed-- the story will not seem to have a large of amount of non-truths-- at the same time, the smaller truths will continue to tell a bigger story. According to Murray, fiction is called a "liar's profession". The readers are not always equipped with the knowledge of how a writer must construct their work, in that adding influencing details in order to draw a vivid image of certain environments, surroundings, or to capture the emotional state of the writer, character and so on. Murray illuminates this objective to his audience and highlight the writers ability to tell a story, and create a dialog around any piece written, and experiences have to be a part of this dynamic based off of an individuals' past experiences. At the same time, the writer is creating their own legacy, history, and different moments of realization and how to it is done. As an inspiring fiction novelist, I write stories "loosely based" of what I have experienced in certain moments of my life, and the most of it is brought forward through my experiences in the earlier years of my life. In essence, it is important that a person captures their own experiences, because out of every individual experience both bring forth vivid stories and voices to those moments in life left to be
It is within the human nature to be interested in other people’s experiences. Whether it be with reality shows or blog posts, people like to hear different incidents through diverse perspectives. Writers take advantage of this curiosity and try to tie experiences into their works. Many times writers will include experiences of their own in order to convince their audience of their perspective on a subject. These personal experiences are done in order to make an impact on the audience and it is written in a certain way to make it the most efficient for the readers. The use of personal anecdotes is effective when details are described to the point where readers can create their own opinions, when they are used as the main topic against an argument as opposed to being an unimportant detail, and when it has the ability to appeal to the audience’s emotion.
“By telling stories, you objectify your own experience. You separate it from yourself. You pin down certain truths. You make up others. You start sometimes with an incident that truly happened, like the night in the shit field, and you carry it forward by inventing incidents that did not in fact occur but
When we are adolescents we see the world through our parents' eyes. We struggle to define ourselves within their world, or to even break away from their world. Often, the birth of our "self" is defined in a moment of truth or a moment of heightened self-awareness that is the culmination of a group of events or the result of a life crisis or struggle. In literature we refer to this birth of "self" as an epiphany. Alice Munro writes in "Boys and Girls" about her own battle to define herself. She is torn between the "inside" world of her mother and the "outside" world of her father. In the beginning her father's world prevails, but by the finale, her mother's world invades her
Of all the forms of literature, the most interesting might be the fairytales, or the science fiction thriller about robots. However, there lacks the sense of truth, in a way blocking the reader from true connection with the story. Memoir is real, memoir is true, and memoir can range from any end of the ocean in structure and theme.
The story, “Runaway”, written by Alice Munro, suggests how human beings try to escape from their problems when they cannot manage them. The story tells how a girl in a bad marriage who unable to deal with it runs from the situation but later came back, refuses a chance of escape from her abusive husband. Even the goat Flora who cannot be fully tamed as an animal runs away and Carla is described as a girl who wants the attention from her husband that she does not get and runs away from him. Carla’s nature is like the goat Flora because they both escape from their situations. Munro shows parallels between Flora and Carla, which argues that Flora’s behavior mirrors Carla’s relationship with Clark.
A good story is always structured with details that are easy to follow while intriguing readers with reality and emotions. Edwidge Danticat’s memoir has proven her ability to use descriptions that allows the text and the readers to connect. Through her writing, she is able to get the reader involved in her situation, so that it is as if they are experiencing it too. Adding on, Danticat cleverly writes each type of description in a way that makes them distinct from each other. This connects the two which adds to her message. Descriptions bring life to her story and stresses the real events that happened to her and her family which displays her message effectively. That being said, without objective and subjective descriptions, any piece
Book are magnificent things. Fiction books are created with such details, they only hold small or no real life facts or events. In contrast, nonfiction books do the complete opposite. Nonfiction books contain facts or events from the past that occurred, they are also incorporated with details to make the story more interesting, to give it more imagery, feel, and a better tone. When an author does so, they manage to make the book have a “timeless quality,” which is incredibly important to a nonfiction book. An author is capable of getting this quality in their books by incorporating the facts or events, alongside rhetorical strategies to give life and meaning to their book. Not every author can manage to do this, although, the author by the name of Erik Larson did so, in his book, The Devil in the White City: Murder,
Literary works have become one of the most preferred ways for people to express themselves and voice their concerns and opinions on societal issues. Through such pieces of work, authors are able to educate and critique the society at large, often forcing people to reconsider their views on certain matters. This has an overall effect of pushing them to reconsider the effect of their actions and errors as regards the issues in question. For others, writing about real life situations is most effective in communicating with their readers. Victims of racial discrimination may opt to put their ordeals down in black and white, mush the same way those who find themselves at the receiving end of sexual harassment may choose to write about their experiences. Arguably, the effect achieved is greater, in opposition to that of works of fiction. Even where a book is fictitious, more insight and connection to real life is achieved if the story is built around real life events and situations. Nancy Mairs does excellent in expressing herself through her spiritual autobiography; Waist-High in the World.
Tim O’Brien’s novel, The Things They Carried, the chapter “Spin”, highlights how when a writer formulates their story, certain details will always be intentionally left out, and by stringing together disconnected ideas and memories, O’Brien reveals that distortion is ineluctable. Writing lies on the fundamental principal that writers have the ability to manipulate people into believing what they say by highlighting certain facts and ignoring others.
The short story How I Met My Husband, by Alice Munro, is an excellent example of realistic writing. She uses ordinary and worldly events, actual locations, and a very ironic tone in the story. Alice Munro also uses everyday people for her protagonists, who encounter normal events and emotions. In the story How I Met My Husband, Edie shows the growth from someone who is very naïve to someone who is more realistic.
In Hopkinson's story, experience is central as it leads to potential complications the grandmother tries to avoid for her granddaughter by telling her personal story. The mother opposes her mother's urges for protection and tells her it is not necessary to frighten her daughter because “girlie's too young yet, there's plenty of time.” (2). The mother sees her mother's personal story as a “ghastly old wi[fe's] tale[s].” (1-2) therefore there is no rush to inform her child on dangers, but also because she believes her girl is too young. This opposition between both characters links to a broader opposition between two different ways to report events: on the one hand this story could be based on realistic facts when on the other hand it contains allegories and a moral which are features of fairy tales. This text mixes both types which revels Hopkinson's style, designated by herself in a 1999 interview with Gregory E. Rutledge, as "speculative fiction” and defined by Jewelle Gomez in her article “Speculative Fiction and Black Lesbians”: “I conflate the terms science fiction and fantasy fiction under this rubric [Speculative Fiction] because each in its own way addresses human concern with the future, with magic, and with the preternatural.” (949). The story borrows its
There is a fine line between truth and fiction, but both have their ups and downs. Honesty is the best policy, but the truth can lackluster sometimes; hence why one might spice up their reality with half-truths. With the added twist of fiction, readers are given a doorway to a whole new world to experience and love. However, there are times when too much exaggeration or too much truth can elevate and ruin the overall meaning to a writer’s work. In Matthew Lippman’s, A New Year of Yellow; and Rob MacDonald’s, Resuscitation Party, readers will wonder what aspects of the writers’ poems are truth or fiction. By using embellishment as an effective writing tool, Lippman and MacDonald are able to capture their audience’s attention, making them want
In the text Writing Essays about Literature (WEAL) epistolary narrative is defined as “…reveals action through letters.” (WEAL, 46) The author Max Brooks in the book World War Z has used the epistolary style in a series of interviews to tell the stories of the people and their survival of the zombie apocalypse. Like any interview, these stories are conversational and have a relaxed tone that is meant to add in an element of authenticity. The idea behind the use of the epistolary style is to convince the readers of these fictional characters and the events that make it seem more factual. However, with this goal to add authenticity the epistolary writing style in the first-person point of view gives rise to the question of bias that may give a narrow perspective of the story among the other flaws that may actually hinder with the readers reading experience.
Whilst the ontology of fictitious things has been discussed since the beginnings of Philosophy, Radford first suggested the ‘Paradox of Fiction’ in his article ‘How Can We be Moved by the Fate of Anna Karenina?’ The conclusion of the paradox leads to a contradiction of beliefs, drawn from premises which appear to be both true and not true at the same time. The basic paradox is presented below, although various additions have been made since its first introduction.