A Quote by Philip Kitcher
For anyone who conceives literature in terms of plurality of perspectives, Finnegans Wake has to be the apogee. For, as we are told, every word in it has three score and ten "toptypsical" meanings - an exaggeration, of course, but an important reminder to readers who like their fiction definite.
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So you need hardly spell me how every word will be bound over to carry three score and ten toptypsical readings throughout the book of Doublends Jined.
Twenty-three is said to be the prime of life by those who have reached so far and no farther. It shares this distinction with every age, from ten to three-score and ten.
If an artwork never gets any attention from anybody, then obviously it's got problems. If it gains attention from a very small elite, then it's presumably doing something. Finnegans Wake gets a lot of attention from certain people who become passionate about it, who are usually very good readers in general. Although - I often talk about costs and benefits - it seems to me the costs of reading Finnegans Wake are not worth the benefits, however many there may be. And it's the same with the more arcane among poets, Zukofsky and so on.
I think [James] Joyce sometimes enjoyed misleading his readers. He said to me that history was like that parlor game where someone whispers something to the person next to him, who repeats it not very distinctly to the next person, and so on until, by the time the last person hears it, it comes out completely transformed. Of course, as he explained to me, the meaning in Finnegans Wake is obscure because it is a 'nightpiece.' I think, too, that, like the author's sight, the work is often blurred.
The first thing to say about Finnegans Wake is that it is, in an important sense, unreadable.
Kids don't read as much as you'd like them to, just in terms of seeing the world from different perspectives. I mean, that's the great thing about books, still. Here's television, here are the movies, and it's pretty limited in terms of the perspectives.
Myleene Klass is just the bomb. Her boyfriend is very lucky. She is a definite ten in every sense of the word.
It seems like every ten years there's a book that says that poetry used to be popular, and now it's not, but we really have no way of knowing, in terms of relative size of audience and other things, exactly who readers were.
I don't really think in terms of the future of literature. I think literature will be around "forever" - but in a relatively niche way, like jazz and poetry, although probably more widely consumed than jazz and poetry since it's fundamentally a narrative form. And I think that's important and places like Word Riot and 'The New York Tyrant' and 'n+1' will be responsible for keeping it alive.
There are games where the striker will be useful for the team in terms of creating space and being involved in the game, without necessarily scoring, but he'll have played an important role for the team. But, of course, over the course of a season, I have to score goals, as that's what statistics reflect.
All the definitions people want to put on you in terms of what kind of writer you are come with hidden meanings. If you're writing science fiction, you're writing rocket ships. If you write dystopian fiction, it's inequity where The Man must be fought.
I do think that science fiction ideas are best expressed through visual media like film and TV. Realist literature depicts things that we have seen in life, but science fiction is different: what it depicts exists only in the author's imagination. When it comes to science fiction, the written word is inadequate.
My old English buddy, John Rackham, wrote and told me what made science fiction different from all other kinds of literature - science fiction is written according to the science fiction method.
Fiction and non-fiction are only different techniques of story telling. For reasons I do not fully understand, fiction dances out of me. Non-fiction is wrenched out by the aching, broken world I wake up to every morning.
Some readers read a book as if it were an instruction manual, expecting to understand everything first time, but of course when you write, you put into every sentence an overflow of meaning, and you create in every sentence as many resonances and double meanings and ambiguities as you can possibly pack in there, so that people can read it again and get something new each time.
I had passed through the entire British education system studying literature, culminating in three years of reading English at Oxford, and they'd never told me about something as basic as the importance of point of view in fiction!
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