A Quote by Saul David

Historical facts are the vital framework around which non-fiction writers construct their narratives; they are, quite simply, indispensable. — © Saul David
Historical facts are the vital framework around which non-fiction writers construct their narratives; they are, quite simply, indispensable.
I've been typed as historical fiction, historical women's fiction, historical mystery, historical chick lit, historical romance - all for the same book.
I certainly incorporate facts into my fiction. I take the basic facts from the life of my subject and I pick and choose what to use to construct a really interesting novel. I don't let facts get in the way of my imagination and my exploration of the subject's emotions and relationships.
Writers of historical fiction are often faced with a problem: if they include real-life people, how do they ensure that their make-believe world isn't dwarfed by truth? The question loomed large as I began reading 'The Black Tower', Louis Bayard's third foray into historical fiction and fifth novel overall.
You can't believe anything that's written in an historical novel, and yet the author's job is always to create a believable world that readers can enter. It's especially so, I think, for writers of historical fiction.
There is no kind of framework within which we can find consciousness in the plural; this is simply something we construct because of the temporal plurality of individuals, but it is a false construction... The only solution to this conflict insofar as any is available to us at all lies in the ancient wisdom of the Upanishad.
Historical fiction is simply fiction set in the past, and should be judged as such.
The real world is devoid of narratives, after all. Narratives are just a thing that our brains do with facts in order to draw a line around the incomprehensible largeness of reality and wrestle it into something learnable and manipulable. Existence is devoid of plot, theme, and most of all moral.
The facts which our senses present to us are socially performed in two ways: through the historical character of the object perceived and through the historical character of the perceiving organ. Both are not simply natural; they are shaped by human activity, and yet the individual perceives himself as receptive and passive in the act of perception.
From my years of teaching creative writing, I know that new writers take the setting for granted, as simply a place to set the action, but setting is a vital element in fiction writing and deserves serious treatment.
It is quite likely ... that the central figure of the gospels is not based on any historical individual. Put simply, not only is the theological "Christ of faith" a synthetic construct of theologians, a symbolic "Uncle Sam" figure, but if you could travel ... back to First-Century Nazareth, you would not find a Jesus living there.
As you see, I bear some resentment and some scars from the years of anti-genre bigotry. My own fiction, which moves freely around among realism, magical realism, science fiction, fantasy of various kinds, historical fiction, young adult fiction, parable, and other subgenres, to the point where much of it is ungenrifiable, all got shoved into the Sci Fi wastebasket or labeled as kiddilit - subliterature.
Dialectical logic undoes the abstractions of formal logic and of transcendental philosophy, but it also denies the concreteness of immediate experience. To the extent to which this experience comes to rest with the things as they appear and happen to be, it is a limited and even false experience. It attains its truth if it has freed itself from the deceptive objectivity which conceals the factors behind the facts - that is, if it understands its world as a historical universe, in which the established facts are the work of the historical practice of man.
If you construct political narratives around the psychodramas of politicians, even when they don't invite it, you open the way for those who can play this game more effectively.
Facts are simple and facts are straight. Facts are lazy and facts are late. Facts all come with points of view. Facts don't do what I want them to. Facts just twist the truth around. Facts are living turned inside out.
I'm grateful for the likes of Kundera, Murnane, Markson, Berger, and, in his recent work, Coetzee. But no matter how celebrated they are, critics still consider them askance. Elizabeth Costello, for example, is a great novel, but it got quite a critical panning when it was published. The complaint was that it was simply a book of speeches, without the machinery of conventional fiction. Markson's books are compilations of facts and alleged facts, very artfully.
Space and time are the framework within which the mind is constrained to construct its experience of reality.
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