He suggested that all his works are literary, simply because "they are written in words". Literary fiction often involves social commentary , political criticism , or reflection on the human condition. Realistic fiction typically involves a story whose basic setting time and location in the world is real and whose events could feasibly happen in a real-world setting; non-realistic fiction involves a story where the opposite is the case, often being set in an entirely imaginary universe , an alternative history of the world other than that currently understood as true, or some other non-existent location or time-period, sometimes even presenting impossible technology or a defiance of the currently understood laws of nature.
However, all types of fiction arguably invite their audience to explore real ideas, issues, or possibilities in an otherwise imaginary setting, or using what is understood about reality to mentally construct something similar to reality, though still distinct from it. In terms of the traditional separation between fiction and non-fiction , the lines are now commonly understood as blurred, showing more overlap than mutual exclusion. Even fiction usually has elements of, or grounding in, truth.
The distinction between the two may be best defined from the perspective of the audience, according to whom a work is regarded as non-fiction if its people, places, and events are all historically or factually real, while a work is regarded as fiction if it deviates from reality in any of those areas. The distinction between fiction and non-fiction is further obscured by an understanding, on the one hand, that the truth can be presented through imaginary channels and constructions, while, on the other hand, imagination can just as well bring about significant conclusions about truth and reality.
Literary critic James Wood , argues that "fiction is both artifice and verisimilitude ", meaning that it requires both creative invention as well as some acceptable degree of believability,  a notion often encapsulated in poet Samuel Taylor Coleridge 's term: willing suspension of disbelief. Also, infinite fictional possibilities themselves signal the impossibility of fully knowing reality, provocatively demonstrating that there is no criterion to measure constructs of reality. From Wikipedia, the free encyclopedia.
This article is about the type of media content. For other uses, see Fiction disambiguation. See also: List of fictional genres. Main article: Genre fiction. Main articles: Literature and Literary fiction. See also: Literary realism. Main list: Outline of fiction. Oxford University Press.
The Philosophy of Computer Games. Hugh Holman A Handbook to Literature 7th edition. New York: Prentice Hall, , p. Abrams, A Glossary of Literary Terms 7th edition. Bloomsbury Publishing USA.
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Later, the author received supporting documents from the Japanese Ministry of Transport. The author explains that he decided to write up Mr. Patel and to the novelist Moacyr Scliar. The note claims the text is nonfiction, placing this book squarely in the tradition of picaresque novels like Don Quixote, which masquerade as fact even though they are obviously works of imagination.
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In picaresque novels, the harsh realities of life—poverty, illness, and so on—are subject to wry, ironic, and even humorous treatment. In Life of Pi, Martel uses his narrator to make serious commentary on everything from religion to politics, and the mock-journalistic introduction emphasizes the intersection of fact and fiction in his literary world. Martel really had written two not-so-successful books before this one and inspiration had struck him during a visit to India. But did he really meet Francis Adirubasamy in a coffee shop, and does Pi Patel really exist? Things to do with the protocols of being a guest and a host, with giving and taking, with respect and authority.
I was appalled at the misunderstanding that must have happened in that moment, even though all parties had only goodwill towards each other. How easy it was for things to go wrong.
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Is it not possible for him to spear him? One is by Governor Phillip. In his account, it's his courage in facing the "old man" that prevents him being speared. However, another eyewitness account exists, and it gives a very different view of the moment — and a straightforward answer to Clendinnen's question. It makes nonsense of her suggestion that something so subtle is going on in that moment that only an expert like herself can recognize it.
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Either Clendinnen isn't aware of this second version of the incident — which would make her a poor sort of historian — or, knowing about it, she's pretending it doesn't exist. She's so incensed that a novelist should step onto her territory that she's prepared to manipulate the sources in a way a tabloid journalist might be proud of. As a result of these and other commentaries about my work that grossly distorted the facts, I gave some thought to what might be happening within the academy to make honesty take second place to sensation.
For five years, since the publication of The Secret River , pieces have appeared of the "academics with attitude" sort, in which my words have been distorted or — in many cases — simply fabricated, in order to claim than I think I'm writing history, and in fact better history than historians write. For that reason, it seems important to defend myself more vigorously than I have up till now.
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Some are in literature and cultural studies but some are historians who, of all people, ought to be careful about their sources. I have no wish to damage their prospects by identifying them.
Facts and Fiction: A Book of Storytelling: Michael Holroyd: Bloomsbury Publishing
I hope, too, that it mightn't be too late for them to re-visit the idea of academic integrity. It goes without saying that the great majority of academics are scrupulous in their use of sources. The novel is a serious attempt to do history … Grenville sees her novel as a work of history sailing triumphantly beyond the constrictions of the formal discipline of history-writing.
These are serious claims, and lead Clendinnen and Griffiths into serious accusations. Yet no reference is given for them. No reader can go and check the truth of their accusations. There's a good reason for that: there are no sources.
If there were, they'd cite them. Assertions like these are sometimes presented to look like paraphrases of things that were actually said. A sentence that begins "Grenville describes" or "Grenville explains" strongly suggests that what follows is a faithful paraphrase. Yet what follows is frequently an almost unrecognisable departure from the original. In several examples from pieces about The Secret River , the word "history" has been used in the paraphrase where it never appeared in the original.
What appears to be paraphrase is in fact a mask for fabrication, which then takes on the authority of fact. Academics have responded to my protests about this by saying that their words were not a paraphrase but an "interpretation". That's as it should be.
But a reader has the right to know just when faithful paraphrase becomes interpretation; when it's the academic speculating, rather than the original source speaking. Some academics are considerably less than scrupulous about making that distinction, taking advantage of the grey area between a text and its translation so that a reader takes away a false impression. Others, more honourable, are prepared to clarify the writing in response to protests, and I appreciate this evidence of good faith. Some academics are marvellously modest about their insights. Rather than stating their case and supporting it with evidence or logical argument, they draw veils around themselves with such openers as : "It could be argued …" "It could be said that …" "This could be read as …".
It's a neat way of saying but not-quite-saying, from which the academic can draw back if challenged. If a claim is too grotesque, far-fetched or libellous, it can always be presented as a question. Footnotes were invented to keep academics honest, but they don't always do the job. A paraphrase might have an authoritative-looking footnote, but when you go to the source you sometimes look in vain for any resemblance between the original and the "paraphrase" or "interpretation" or even for the direct quote. A particularly effective technique is to footnote a sentence or paragraph that makes several different points.
The rare reader curious enough to check the source will find that the footnote only applies to one part of the sentence — and never the contentious part. Even footnotes can be paraphrases, it seems. One of the damning condemnations of me as a claimer of history gives a footnote to the assertion that I think I write history, with this source : "Kate Grenville: The Historian Within , The Age [date given]".
I didn't give it that title and had no control over the title or the contents of the piece. However this footnote — and its implication that I thionk of myself as a historian — gives an unsupported and false assertion all the scholarly authority that a footnote confers. Again, the idea that I think of myself as a historian — or as someone who can make history more real than poor old historians can — has been invented by others. In a paper that had been accepted for publication in a collection of scholarly essays, the author gave a quote from one of my books, giving a footnote with page number.
A check confirmed that there was no shadow of the quote to be found on the footnoted page.
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