A Quote by Yann Martel
Life is an interpretation of a series of facts, and that interpretation is really what life is about. So the division between non-fiction and fiction has a certain logic, but it's a very limited one. And by and large, it isn't helpful.
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All knowledge that is about human society, and not about the natural world, is historical knowledge, and therefore rests upon judgment and interpretation. This is not to say that facts or data are nonexistent, but that facts get their importance from what is made of them in interpretation… for interpretations depend very much on who the interpreter is, who he or she is addressing, what his or her purpose is, at what historical moment the interpretation takes place.
There's no division on my bookshelf between fiction and nonfiction. As far as I'm concerned, fiction is about the truth.
Proust is interested in minutiae because life, as he sees it, is seldom ever about things but about our impression of things, not about facts but about the interpretation of facts, not about one particular feeling but about a confluence of conflicting feelings. Everything is elusive in Proust because nothing is ever certain.
In the field one has to face a chaos of facts, some of which are so small that they seem insignificant; others loom so large that they are hard to encompass with one synthetic glance. But in this crude form they are not scientific facts at all; they are absolutely elusive, and can be fixed only by interpretation, by seeing them sub specie aeternitatis, by grasping what is essential in them and fixing this. Only laws and generalizations are scientific facts, and field work consists only and exclusively in the interpretation of the chaotic social reality, in subordinating it to general rules.
Literary science fiction is a very, very narrow band of the publishing business. I love science fiction in more of a pop-culture sense. And by the way, the line between science fiction and reality has blurred a lot in my life doing deep ocean expeditions and working on actual space projects and so on. So I tend to be more fascinated by the reality of the science-fiction world in which we live.
Reading things that are relevant to the facts of your life is of limited value. The facts are, after all, only the facts, and the yearning passionate part of you will not be met there. That is why reading ourselves as a fiction as well as fact is so liberating. The wider we read the freer we become.
I'm not interested in the director's commentary stuff. I think that stuff is really boring. And, if the director explains too much, it takes a certain mystery away from the interpretation that is very important for the audience to have. The audience should have their own interpretation.
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.
I always knew I wanted to write really imaginative fiction - fiction that was very different from my real life.
I was a teacher most of my life, which I loved. I had a very happy working life, and when I retired, I thought I must do something, and I've always read a lot of fiction - you learn so much from fiction. My sentimental education came mostly from fiction, I should say, so I thought I'd try.
Christ has given us the most glorious interpretation of life's meaning that man has ever had. The fatherhood of God, the fellowship of the Spirit, the sovereignty of righteousness, the law of love, the glory of service, the coming of the Kingdom, the eternal hope- there was never an interpretation of life to compare with that.
Artists should be free to create what we want. I believe there's a special value in work that is a reflection of oneself as opposed to interpretation. When I see a film or a TV show about black people not written by someone who's black, it's an interpretation of that life.
As you may know, my motto is: "All memory is fiction." It could just as easily be: "All fiction is memory." Unpacked, these two statements defy the ease of logic, but offer some really important truths about narrative art, at the very least, and about memory. So I would say that all art is personal.
I think, about the distinction between fiction and nonfiction. Fiction is not really about anything: it is what it is. But nonfiction - and you see this particularly with something like the BBC Samuel Johnson Prize for Non-Fiction - nonfiction we define in relation to what it's about. So, Stalingrad by Antony Beevor. It's "about" Stalingrad. Or, here's a book by Claire Tomalin: it's "about" Charles Dickens.
China lacks good science fiction, but not mediocre science fiction. Even so, the gap between Chinese and American sci-fi is still very large and it is most apparent in quality of the works.
History is a matter of interpretation, but you have to start with certain facts.
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