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But editors are still the world's readers. And thus the eyes of the world.
What interests me about fiction is, in part, its flickering edge between realism and where a tear in the fabric of a story lets in some other sort of light.
I guess when I'm frightened or in pain or maybe very bored I've tried to hold myself together by imposing a narrative order on the experience as it happens.
I wasn't aware I'd write the novel when I wrote the New Yorker story either. And the narration of their construction in 10:04 is fiction, however flickering.
My concern is how we live fictions, how fictions have real effects, become facts in that sense, and how our experience of the world changes depending on its arrangement into one narrative or another.
Maybe that's the way I'm private - I respect the privacy of "my" characters? Anyway, we're getting close to the whole "relatability" and "likability" thing.
I'm trying to be somebody on whom the experience is lost by supplanting it with its telling. I definitely do that in medical contexts, even in trivial ones.
Most of us start from that position of irony now and what I wanted to do - really felt like I had to do if I was going to write another novel - was move towards something like sincerity.
I like to think - knowing that it's an enabling fiction - of those moments as fragments from a world to come, a world where price isn't the only measure of value.
I think the anti-intellectualism of a lot of contemporary fiction is a kind of despairing of literature's ability to be anything more than perfectly bound blog posts or transcribed sitcoms.
... but every person who does serious time with a keyboard is attempting to translate his version of the world into words so that he might be understood.
deception and 'con games' are a way of life in all species and throughout nature. Organisms that do not improve their ability to deceive - and to detect deception - are less apt to survive.