Thomas C. Foster

“A novel is a made-up work about made-up people in a made-up place, all of which is very real.”

“Always" and "never" are not words that have much meaning in literary study. For one thing, as soon as something seems to always be true, some wise guy will come along and write something to prove that it's not.”

“characters as rich and complex as those we believe ourselves to be”

“Someone had to go first, show that there was a life to be recorded here, that this place, this new set of possibilities, could inspire a new literature. Cooper set the signpost on the road, and hearty travelers have been following it ever since.”

“And romance is just the place for creating mythic figures doing mythic things. Like carving 'civilzation' out of the wilderness. Like showing us what a hero looks life, a real, American, sprung-from-the soil, lethal-weapon-with-leggings, bona fide hero. And for a guy who never marries, he has a lot of offspring. Shane. The Virginian. The Ringo Kid. The Man with No Name. Just think how many actors would have had no careers without Natty Bumppo. Gary Cooper. John Wayne. Alan Ladd. Tom Mix. Clint Eastwood. Silent. Laconic. More committed to their horse or buddy than to a lady. Professional. Deadly. In his Studies in Classic American Literature, D.H. Lawrence waxes prolix on Natty's most salient feature: he's a killer. And so are his offspring. This heros can talk, stiltedly to be sure, but he prefers silence. He appreciates female beauty but is way more committed to his canoe or his business partner (his business being death and war) or, most disturbingly, his long rifle, Killdeer. Dr. Freud, your three-o'clock is here. Like those later avatars, he is a wilderness god, part backwoods sage, part cold-blooded killer, part unwilling Prince Charming, part jack-of-all-trades, but all man. Here's how his creator describes him: 'a philosopher of the wilderness, simple-minded, faithful, utterly without fear, yet prudent.' A great character, no doubt, but hardly a person. A paragon. An archetype. A miracle. But a potentially real person--not so much.”

“The process of dehuminazing the locals was under way, and it had very little to do with veracity. The Puritan narratives would continue that process and bring the devil into the mix. At least John Smith didn't think Satan was involved.”

“we accept fictions as fictions, as things that might be true in their world, if not quite in ours.”

“Every novel is brand-new. It’s never been written before in the history of the world. At the same time, it’s merely the latest in a long line of narratives—not just novels, but narratives generally—since humans began telling stories to themselves and each other.”

“His argument runs like this: there is no goodness without free will. Without the ability to freely choose-or reject-the good, an individual possesses no control over his own soul, and without that control, there is not possibility of attaining grace. In the language of Christianity, a beliver cannot be saved unless the choice to follow Christ is freely made, unless the option not to follow him genuinely exists. Compelled belief is no belief at all.”

“When it's over, we may feel wooed, adored, appreciated, or abused, but it will have been an affair to remember.”

“The novels we read allow us to encounter possible persons, versions of ourselves hat we would never see, never permit ourselves to see, never permit ourselves to become, in places we can never go and might not care to, while assuring that we get to return home again”

“Education is mostly about institutions and getting tickets stamped; learning is what we do for ourselves. When we're lucky, they go together. If I had to choose, I'd take learning.”

“What happens if the writer is good is usually not that the work seems derivative or trivial but just the opposite: the work actually acquires depth and resonance from the echoes and chimes it sets up with prior texts, weight from the accumulated use of certain basic patterns and tendencies. Moreover, works are actually more comforting because we can recognize elements of them from our prior reading. I suspect that a wholly original work, one that owed nothing to previous writing, would so lack familiarity as to be quite unnerving to readers.”

“We have to bring our imaginations to bear on a story if we are to see all it's possibilitiess; otherwise it's just about somebody who did something. Whatever we take away from stories in the way of significance, symbolism, theme, meaning, pretty much anything except character and plot, we discover because our imagination engages with that of the author. Pretty amazing when you consider that the author may have been dead for thousands of years, yet we can still have this exchange, this dialogue, with her.”

“So what did you think the devil would look like? If he were red with a tail, horns, and cloven hooves, any fool could say no.”

“A novel without readers is still a novel. It has meaning, since it has had at least one reader, the person who wrote it. Its range of meanings, however, is quite limited. Add readers, add meaning.”