A Quote by Don DeLillo

There is a set of balances and rhythms to a novel that we can't experience in real life. So I think there is a sense in which fiction can rescue history from confusion. — © Don DeLillo
There is a set of balances and rhythms to a novel that we can't experience in real life. So I think there is a sense in which fiction can rescue history from confusion.
The novel since its origins has been the privatization of history... the history of private life ... and in that sense every novel is an historical novel.
Part of the reason I wanted to write a novel was that in fiction I could do something that's difficult to do in real life, which is to dwell on the stark details of the experience without really needing to create that narrative of redemption.
So much history, if you or I were to write it, could seem a fiction. These separations, these lines that tell us this is fiction or non-fiction, that this is history or this is a novel, are often useless.
I think in a sense seeing how films have changed me and seeing how fiction moves me more than facts in many ways, and I think that I can talk for many people that fiction moves us more than real life, it certainly helps us to set forth on this a journey of a utopia, which can never be achieved.
Simply put, you can read a story in a single sitting and hold it all in your mind. You can experience all of its rhythms, beginning to end, during that span. Consequently it has, I think, greater emotional power than a novel because of this real-time effect. Stories can stun you.
I would not describe myself as a political writer except in the sense that the personal is political, which is something that I do strongly believe. And in that sense American Gods is a very personal novel and a political novel. I was trying to describe the experience of coming to America as an immigrant, the experience of watching the way that America tends to eat other cultures.
This fact was something I also learned from this first novel that I needed personal experience to invent, to fantasize, to create fiction, but at the same time I needed some distance, some perspective on this experience in order to feel free enough to manipulate it and to transform it into fiction. If the experience is very close, I feel inhibited. I have never been able to write fiction about something that has happened to me recently. If the closeness of the real reality, of living reality, is to have a persuasive effect on my imagination, I need a distance, a distance in time and in space.
Successful fiction does not need to be validated by 'real life'; I cringe whenever a writer is asked how much of a novel is 'real'.
I like to do the research of history and the creativity of writing fiction. I am creating this thing which I think is twice as difficult as writing either history or fiction.
There's no real objection to escapism, in the right places... We all want to escape occasionally. But science fiction is often very far from escapism, in fact you might say that science fiction is escape into reality... It's a fiction which does concern itself with real issues: the origin of man; our future. In fact I can't think of any form of literature which is more concerned with real issues, reality.
Reading Tomato Red-the first Daniel Woodrell novel I came upon-was a transformative experience. It expanded my sense of the possibilities not only of crime fiction, but of fiction itself-of language, of storytelling. Time and again, his work just dazzles and humbles me. God bless Busted Flush for these glorious reissues. It's a service to readers everywhere, and a great gift.
I find it interesting that authors of fantasy and science fiction novels are rarely asked if their books are based on their personal experiences, because all writing is based on personal experience. I may not have gone on an epic quest through a haunted forest, but the feelings in my books are often based on feelings I've had. Real-life events, in fantasy and science fiction, can take on metaphorical significance that they can't in a so-called realistic novel.
I think fiction can help us find everything. You know, I think that in fiction you can say things and in a way be truer than you can be in real life and truer than you can be in non-fiction. There's an accuracy to fiction that people don't really talk about - an emotional accuracy.
That's the difference between a real journal and one that's invented for a novel. A novel journal has to be manipulated so someone reading it can have enough comprehension, which means the person writing it would've had to have a sense of a someday-audience.
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. As for nonfiction, for history, it may be real, but its truth is slippery, hard to access, with no fixed meaning bolted to it. If history doesn't become story, it dies to everyone except the historian.
There is an odd sense of responsibility attached to appearing in a drama about a real piece of history. A work of fiction is fun.
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