I've come to literature with several critical assumptions:
- All knowable worlds are fundamentally logical and therefore linguistically expressible;
- As such, language is the avenue by which we cross the barriers between our world and other worlds;
- Because our world often lacks the things we find in other worlds (e.g., hippogriffs), we can call these other worlds "possible worlds" (as opposed to our "actual world"), by which we mean simply that the contents of these other worlds is logically possible; if it weren't we couldn't imagine it (imagine, for instance, a world with a square circle… good luck with that);
- Our world is one possible world among many, but we call it "actual" because it's where we originated;
- Contradictions break the spell that the author of an alternate possible world casts on the reader;
- Well constructed possible worlds are devoid of contradictions;
- One must take care to distinguish between true contradictions and apparent contradictions: apparent contradictions are essential to mystery and hidden meaning, and are always resolved by the introduction of a previously unknown statement.
Additionally:
- Literature scholars tend to either love or hate what they research (i.e., we don't do research on things that don't interest us);
- Most research is (albeit covertly) dedicated to justifying a scholar's reaction to a work (no, I'm not cynical).
I tend to prefer 'contemporary medievalism' to the modern novel primarily because so much of the former is authored with a penchant for order within the possible worlds that are created. Conclusions are usually resolutions rather than disjunctions. Some do not believe that the actual world is this way; I like to think it is. But even if I happen to be mistaken on that point, I prefer to cross into well-ordered possible worlds, even if I don't discover how well they are ordered until I reach the end of a tale that occurs therein.
My preference having been thus baldly stated, look for me to justify it on this blog this summer.
All the best,
ALong
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