A Quote by Theresa Breslin
In order to deliver the emotional truth in the story, you have to include some of the literal truth.
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I love historical fiction because there's a literal truth, and there's an emotional truth, and what the fiction writer tries to create is that emotional truth.
You deliver a message every time you speak. Do you deliver the truth, or do you deliver lies? When the message you deliver comes from truth and love, you are happier.
Any documentary; any capturing of a non-fiction event, is a hyper-realistic condensation of reality that hopefully reveals an emotional truth. It's never the actual literal truth of an event.
Fiction can produce truth, and truth can be false. What does it mean to say that it's true that, what, two out of six people in this city are starving? That's true, but that is only true because the conditions we live under are completely wrong - that should not be true, and it is. And in something like Sarah Polley's film, her fictions deliver so much truth. The retellings and the simulations and the theatrical aspects are what deliver all the truth.
Emotional truth is the reward of digging deeply enough to find the truth about how one really feels, but in order to convey this truth with any force, or artistry, one needs to 'create' a form of expression, and this form determines its own "genuine information".
Seek the truth in all fields, and in that search you will need at least three virtues: courage, zest and modesty. The ancients put that thought in the form of a prayer. They said, “From the cowardice that shrinks from new truth, from the laziness that is content with half truth, from the arrogance that thinks it has all truth – O God of truth, deliver us.
The Bible is a wonderful book. It is the truth about the Truth. It is not the Truth. A sermon taken from the Bible can be a wonderful thing to hear. It is the truth about the truth about the truth. But it is not the truth. There have been many books written about the things contained in the Bible. I have written some myself. They can be quite wonderful to read. They are the truth about the truth about truth about the Truth. But they are NOT the Truth. Only Jesus Christ is the Truth. Sometimes the Truth can be drowned in a multitude of words.
[L]et us say that we are obliged to produce the truth by the power that demands truth and needs it in order to function: we are forced to tell the truth, we are constrained, we are condemned to admit the truth or to discover it.
For the artist, the goal of the painting or musical composition is not to convey literal truth, but an aspect of a universal truth that if successful, will continue to move and to touch people even as contexts, societies and cultures change. For the scientist, the goal of a theory is to convey "truth for now"--to replace an old truth, while accepting that someday this theory, too, will be replaced by a new "truth," because that is the way science advances.
Compulsion in the literal Sense is maliciously misrepresented, by supposing it authorizes Violences committed against the Truth. The Answer to this; by which it is prov'd, that the literal Sense does in reality authorize the stirring up Persecutions against the Cause of Truth, and that an erroneous Conscience has the same Rights as an enlighten'd Conscience.
Just as there exists in writing a literal truth and a poetic truth, there also exists in a human being a literal anatomy and a poetic anatomy. One, you can see; one, you cannot. One is made of bones and teeth and flesh; the other is made of energy and memory and faith. But they are both equally true.
In order to be truthful we must do more than speak the truth. We must also hear truth, receive truth, search for truth.
... we are obliged to produce the truth by the power that demands truth and needs it in order to function: we are constrained, we are condemned to admit the truth or to discover it. Power constantly asks questions and questions us; it constantly investigates and records; it institutionalizes the search for the truth, professionalizes it, and rewards it. ... In a different sense, we are also subject to the truth in the sense that truth lays down the law: it is the discourse of truth that decides, at least in part; it conveys and propels effects of power.
[Eugene Smith] was always writing these diatribes about truth, and how he wanted to tell the truth, the truth, the truth. It was a real rebel position. It was kind of like a teenager's position: why can't things be like they should be? Why can't I do what I want? I latched on to that philosophy. One day I snapped, hey, you know, I know a story that no one's ever told, never seen, and I've lived it. It's my own story and my friends' story.
My gripe is not with lovers of the truth but with truth herself. What succor, what consolation is there in truth, compared to a story? What good is truth, at midnight, in the dark, when the wind is roaring like a bear in the chimney? When the lightning strikes shadows on the bedroom wall and the rain taps at the window with its long fingernails? No. When fear and cold make a statue of you in your bed, don't expect hard-boned and fleshless truth to come running to your aid. What you need are the plump comforts of a story. The soothing, rocking safety of a lie.
In fact, I always assumed that most everything I read was true, to one degree or another. I couldn't articulate this fact until after I read Tim O'Brien's The Things They Carried and he discussed Happening Truth, Story Truth, and Emotional Truth. I always understood that the facts of The Sun Also Rises or On the Road were the facts as dictated by a certain narrative structure, but because the experiences of those characters echoed my own feelings about the world. I knew there was a Happening Truth behind them.
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