A Quote by Joyce Carol Oates
It would be difficult for a writer of realism to avoid suggesting a political/moral perspective in his or her fiction. "Politics" per se is absent from my writing but there is usually a moral (if ironic) compass.
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"Politics" per se is absent from my writing but there is usually a moral (if ironic) compass.
Political realism is aware of the moral significance of political action. It is also aware of the ineluctable tension between the moral command and the requirements of successful political action. And it is unwilling to gloss over and obliterate that tension and thus to obfuscate both the moral and the political issue by making it appear as though the stark facts of politics were morally more satisfying than they actually are, and the moral law less exacting than it actually is.
The foundation of leadership is your own moral compass. I think the best quality leaders really know where their moral compass is. They get it out when they are making decisions. It's their guide. But not only do you have to have a moral compass and take it out of your pocket, it has to have a true north.
In the greatest fiction, the writer's moral sense coincides with his dramatic sense, and I see no way for it to do this unless his moral judgement is part of the very act of seeing, and he is free to use it. I have heard it said that belief in Christian dogma is a hindrance to the writer, but I myself have found nothing further from the truth. Actually, it frees the storyteller to observe. It is not a set of rules which fixes what he sees in the world. It affects his writing primarily by guaranteeing his respect for mystery.
Self-righteousness and presumptive moral judgments pose a great danger in the political arena. To become convinced of the divine infallibility of one's personal predilections on a secular political issue is to play God, to assume to oneself the attributes of deity. It cultivates an arrogant intolerance of dissenting viewpoints and relegates one's political adversaries to the category of evil per se.
A fiction which is designed to inculcate an object wholly alien to the imagination sins against the first law of art; and if a writer of fiction narrow his scope to particulars so positive as polemical controversy in matters ecclesiastical, political or moral, his work may or may not be an able treatise, but it must be a very poor novel.
Let's just call things what they are. When a man's love of finery clouds his moral judgment, that is vanity. When he lets a demanding palate make his moral choices, that is gluttony. When he ascribes the divine will to his own whims, that is pride. And when he gets angry at being reminded of animal suffering that his own daily choices might help avoid, that is moral cowardice.
Lindsey Graham can't lead us in any direction because he traded his moral compass for petty political gain.
The very idea that we get a moral compass from religion is horrible. Not only should we not get our moral compass from religion, as a matter of fact we don't.
The moral man is he who is opposed to injustice per se, opposed to injustice wherever he finds it; the moral man looks for injustice first of all in himself.
The moral duty of the free writer is to begin his work at home: to be a critic of his own community, his own country, his own government, his own culture. The more freedom the writer possesses, the greater the moral obligation to play the role of critic.
Many people have written about the economic meaning of globalization; in One World Peter Singer explains its moral meaning. His position is carefully developed, his tone is moderate, but his conclusions are radical and profound. No political theorist or moral philosopher, no public official or political activist, can afford to ignore his arguments.
Politics is dirty. Politics is exciting. Politics is often very, very difficult and disappointing. And I really would rather the world would be a little more like it was when my dad was young, where you knew pretty much where people stood on the great moral issues.
Denouncing Nazis is the easiest thing in the world: All it requires is a modicum of historical perspective and a working moral compass.
Many novelists say, "I'm not a political novelist" - myself included. That's a standard, even a default position. Whereas that divide between art and politics simply isn't possible in many countries. In Hungary, you couldn't be a fiction writer and then, when asked about politics, put your hands up in the air and say "But I'm not a political novelist." If you're a Chinese novelist, a novelist in a country where censorship is such an issue, how do you claim that politics has nothing to do with your writing? It's in your writing, it's shaping your words.
We proclaim human intelligence to be morally valuable per se because we are human. If we were birds, we would proclaim the ability to fly as morally valuable per se. If we were fish, we would proclaim the ability to live underwater as morally valuable per se. But apart from our obviously self-interested proclamations, there is nothing morally valuable per se about human intelligence.
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