“What we call fiction is the ancient way of knowing, the total discourse that antedates all the special vocabularies... Fiction is democratic, it reasserts the authority of the single mind to make and remake the world.”

“Poetry is a way of coming to know the realness of things; fiction is a way of coming to know the world of relationships; nonfiction is a way of coming to know the world of the mind.”

“And there is escaping things the knowledge of which makes one unhappy. If "truth" is what we know and are aware of, in the most engrossing fiction we escape truth. Whatever else it is, drama is forgetfulness. We can forget and forget that we are forgetting. It is temporary mind control. If memories are pain, fiction is anesthesia.”

“In fiction, I searched for my favorite authors, women I have trusted to reassure me than not all teenage guys are total ditwads, that the archetype of the noble cute hero who devotes himself to the girl he loves has not gone the way of the rotary phone. That all I had to do was be myself (smart, hardworking, funny) and be patient and kind and he and I would find each other.As Bea would say, this why they call it fiction.”

“The world is a stage we walk upon. We are all in a way fictional characters who write ourselves with our beliefs.”

“There may even be a real relation between certain kinds of effectiveness in literature and totalitarianism in politics. But although the fictions are alike ways of finding out about the human world, anti-Semitism is a fiction of escape which tells you nothing about death but projects it onto others; whereas King Lear is a fiction that inescapably involves an encounter with oneself, and the image of one's end. This is one difference; and there is another. We have to distinguish between myths and fictions. Fictions can degenerate into myths whenever they are not consciously held to be fictive. In this sense anti-Semitism is a degenerate fiction, a myth; and Lear is a fiction. Myth operates within the diagrams of ritual, which presupposes total and adequate explanations of things as they are and were; it is a sequence of radically unchangeable gestures. Fictions are for finding things out, and they change as the needs of sense-making change. Myths are the agents of stability, fictions the agents of change. Myths call for absolute, fictions for conditional assent. Myths make sense in terms of a lost order of time, illud tempus as Eliade calls it; fictions, if successful, make sense of the here and now, hoc tempus. It may be that treating literary fictions as myths sounds good just now, but as Marianne Moore so rightly said of poems, 'these things are important not because a / high-sounding interpretation can be put upon them but because they are / useful.”