Tag Archives: Literature

Writing, a Solitary Voyage Through the Universe

“The reader may laugh, but for us writers, writing is every time a mad, exciting business, a voyage in a tiny craft on the high seas, a solitary flight through the universe. While one seeks to choose the single word among three that present themselves, at the same time struggling to hold the feeling and tone of the whole sentence he is constructing — while forging the sentence into the selected structure and tightening the bolts of the edifice, he strives at the same time to keep in mind the tone and proportion of the whole book; that is an exciting activity.

I know from personal experience only a single other activity that has a similar tension and concentration; that is, painting. There it is the same: to blend each individual color with its neighboring color properly and carefully is pleasant and easy, one can learn to do it and then practice it at any time. Over and beyond that, however, to have really before one’s mind the as yet unpainted and invisible parts of the whole picture and to take them into account, to experience the whole fine network of intersecting vibrations, that is astonishingly difficult and seldom succeeds.”

Hermann Hesse, A Patient at a Spa

See also: The Sorrows of a Young Writer https://spywriter.wordpress.com/2014/09/21/the-sorrows-of-a-youngish-writer/

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Psychological and Sociological Methodology Determines what Literature is

“Studying literature is not as simple as just reading words on a page.”

Japanese novelist Natsume Soseki “used psychological and sociological methodologies to determine what literature was. He devised a mathematical formula as a theoretical answer: “F + f = literature.”

“F” refers to the impressions or ideas at the focal point of consciousness and “f” signifies emotions attending to those impressions or ideas.

Different readers interact with texts differently based on sociological and psychological factors […] ’F+f’ is not about books, but something that happens in the mind of the reader.”

Soseki argued his formula is a way to define world literature for all cultures and times.

“If you get the feeling of ‘F+f’, then you’re in the realm of literature”.

From and More:  valleyvanguardonline.com/?p=6137

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Storytelling Hightens Moral Reasoning

Intriguing new evidence “shows a positive correlation between literacy and moral reasoning, most particularly between reading fiction and being able to take the perspective of others. Perspective-taking in novels requires a matrices-like rotation of relational positions combined with an understanding of what it would feel like if X happened to you, even though the “you” in this case is a character in the novel.”

“In a 2011 study, for example, the Princeton neuroscientist Uri Hasson and his team scanned the brain of a woman while she told a story out loud that the scientists recorded and subsequently played back for other subjects while their brains were being scanned. When the reader’s emotional brain region called the insula lit up during a certain portion of the story, so too did the listeners’ insulas; when the woman’s frontal cortex became active during a different part of the story, the same region in listeners’ brains was also activated. It’s almost as if the fictional story synchronized the reader’s and listeners’ brains.”

“This experiment is important because it nails down the direction of the causal arrow from reading literary fiction to perspective taking, eliminating the objection that perhaps people who are interested in and good at interpreting the mental states of others just happen to be people who read novels.”

From: reason.com/archives/2015/02/17/are-we-becoming-morally-smarte

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Writing is more than Craftsmaship

“Literature is language — the tongue is an extension of a man’s deepest feelings, his very soul. Not every person who speaks, however, is a writer or artist because language is not automatically literature. Literature is art that uses language as its basic tool and the writer is a skilled user of language. Writing, like all other art forms, is a craft that is learned in school, through constant practice. The apprentice craftsman learns how to fashion sentences, paragraphs, the stories, novels, essays, and poetry even. He learns grammar, punctuation, the precise meaning of words, and their meaning. He learns how to produce tension, how to be clear if precision is required, and how to be obtuse if obfuscation is demanded of him. He knows brevity or long-windedness. He writes to communicate, to arouse love or hate. He also knows his writing will most probably survive if he is good enough. Indeed, literature is the noblest of the arts.”

“To achieve art the writer knows he has to be more than a craftsman. He must now be creative, imaginative, original and profound, all these cannot be taught — these virtues he must search in himself. He will surely find them if he strives hard enough, if he goes deep down to his very core and finds it there … because artists are rare creatures; they are born, not made.”

From: m.philstar.com/366247/show/ed251572d567c9c2c506cd8110150bff/?

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Violent Obsessions of the Literary Kind

“Violent obsessions sometimes lay hold of a man: he may, for instance, think day and night of nothing but the moon. I have such a moon. Day and night I am held in the grip of one besetting thought, to write, write, write! Hardly have I finished one book than something urges me to write another, and then a third, and then a fourth—I write ceaselessly. I am, as it were, on a treadmill. I hurry for ever from one story to another, and can’t help myself. […]

As soon as I stop working I rush off to the theatre or go fishing, in the hope that I may find oblivion there, but no! Some new subject for a story is sure to come rolling through my brain like an iron cannonball. I hear my desk calling, and have to go back to it and begin to write, write, write, once more. And so it goes for everlasting. I cannot escape myself, though I feel that I am consuming my life.”

Anton Chekhov, The Seagull

See also: The Sorrows of a Young Writer

https://spywriter.wordpress.com/2014/09/21/the-sorrows-of-a-youngish-writer/

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Reading – a Bridge to Self

“What does reading do?”
“You can learn almost everything from reading.”
“But I read too.”
“So you must know something.”
“Now I’m not so sure.”
“You’ll have to read differently then.”
“How?
“The same method doesn’t work for everyone, each person has to invent his or her own, whichever suits them best, some people spend their entire lives reading but never get beyond reading the words on the page, they don’t understand that the words are merely stepping stones placed across a fast-flowing river, and the reason they’re there is so that we can reach the farther shore, it’s the other side that matters. Unless…”
“Unless what?”
“Unless those rivers don’t have just two shores but many, unless each reader is his or her own shore, and that shore is the only shore worth reaching.”

Jose Saramago, in The Cave

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The Relationship between Math and Literature

How can a literary work “have infinite critical interpretations, while at the same time not all its interpretations are critical”?

To answer this seemingly contradictory question one must look to mathematics:

Infinite Interpretations of Literary Works

One of the main things critics of literature do is to interpret literary works. In the past, the notion that a literary work, say a novel, only has one real meaning was widely accepted. But, with the dawn of positivism and the ascension of hermeneutics in the humanities, that notion was left behind. Nowadays almost every critic of literature will argue that a novel has as many meanings as there are interpreters. Most of them will even argue that a novel has, in fact, potentially infinite meanings.

But, if every reader can find different valid meanings in a novel, then, how is it that the work of the literary critic is still relevant? According to French philosopher Paul Recoeur, most of the interpretations given to a novel by ordinary people are just quick guesses based in conjectures. For sure, they are valid, but clearly are not as valuable as that of the literary critic, who spends most of her time studying the history of literature and its relation with the social contexts in which it is produced and received.

Also, a critic has to present her interpretation to a whole group of other critics. In doing so, she has to defend her ideas about a novel or a poem with a number of arguments: by relating it to the culture where it was produced, with biographical information about the author, by paying attention to what other people have believed about that specific novel or poem in different moments of history, or even by studying the reasons the publisher had to publish it in the first place.

For all of that, the critic’s interpretation of a literary work tend to be better informed and argued than the ones of casual readers. s. As Recoeur said, maybe there are no methods to make valid interpretations, but there surely are ways to make those interpretations invalid.

To help clarify this idea, I will call interpretations of casual readers real interpretations, in analogy to the uncountable infinity of the Real numbers; and I will refer to the interpretations given by literary critics as integer interpretations, in clear analogy to the countable infinity of Integer numbers. Is there any connection between the two types of interpretations.

Please Continue for the answer:  hplusmagazine.com/2015/01/02/infinities-literature-mathematics/

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Living in a Screen World

We are spending too much time in front of various screens, instead of reading books, to the detriment of our brains.

“To illustrate the neurological effect of this imbalance, we can adapt Marshall McLuhan’s ideas about “hot” and “cool” media: the screen delivers its communication piping hot, in fully cooked messages. If it’s a tree, it looks like a tree — no decoding required. Moreover, the screen delivers fully formed stories, with actors, sets and all other manner of visual stimuli and narrative embellishments — no imagination required. Reading a book, however, demands all kinds of brain work: decode the words; imagine the look and sound of the story; and be responsive enough that conflict, suspense and climax are made emotionally satisfying without a musical score and well-crafted editing. And might this emotional satisfaction teach our brains that hard work is rewarding?” 

“If de Saussure were alive today, I suspect he’d approve of mashing up semiotic theory and neurobiology, since he argued that it’s in the brain that the signifier (the word) is combined with the signified (what the word represents) and meaning is made. Today, neuroscientists have extended that notion exponentially: because “the neurons that fire together, wire together,” we know this meaning-making process affects the brain’s physical structure and shapes our behaviours and our proclivities. It follows logically that living in a screen-filled world, without the brain-training afforded by habitual reading, is undermining [ our ] ability to accurately decode the details and nuances of the written word”.

From: m.thespec.com/opinion-story/5204679-all-i-want-for-christmas-is-semiotics/

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Does Fiction Open Closed Minds?

“One question tackled in this study is whether reading nonfictional texts such as essays has effects on belief processing that are different from those of reading fictional texts such as short stories. In both cases, a reader tries to understand another’s thinking (and feeling). The difference, though, is that in nonfiction there is a clear delineation between the author’s and the reader’s opinions, such that the reader is either persuaded or not by the author’s arguments and stances. With nonfiction, changing or not changing the content of one’s belief system is still bound by permanence and, in at least some cases, by urgency, because one’s opinion, once settled upon, can have implications for decision making. The content of one’s belief system may change, but meta-cognitive processes may be unaffected. With fiction it was hypothesized that there may be greater flexibility of a meta-cognitive kind. It was previously found that whether a text was nonfiction or fiction made no difference to whether changes occurred in participants’ self perceived personality when they read the text; only the text’s artistic level affected personality (Djikic, Oatley & Carland, 2012). In this article, there is a different, meta-cognitive question in relation to beliefs. Is fiction, specifically, able to open closed minds?”

From, and read more: tandfonline.com/doi/abs/10.1080/10400419.2013.783735#/doi/full/10.1080/10400419.2013.783735

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Infinite World Awaits Your Discovery

When we read books our world becomes infinite:

“We realise it best when we talk with an unliterary friend. He may be full of goodness and good sense but he inhabits a tiny world. In it, we should be suffocated. The man who is contented to be only himself, and therefore less a self, is in prison. My own eyes are not enough for me, I will see through those of others. Reality, even seen through the eyes of many, is not enough. I will see what others have invented. Even the eyes of all humanity are not enough. I regret that the brutes cannot write books…. in reading great literature I become a thousand men and yet remain myself. Like a night sky in the Greek poem, I see with a myriad eyes, but it is still I who see. Here, as in worship, in love, in moral action, and in knowing, I transcend myself; and am never more myself than when I do.” C. S. Lewis, in: An Experiment in Criticism

From: lifehacker.com.au/2014/11/cs-lewis-on-reading-literature-those-who-dont-inhabit-a-tiny-world/

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