There is such a thing as the poetry of a mistake, and when you say, "Mistakes were made," you deprive an action of its poetry, and you sound like a weasel.
Say what you want about it, Hell is story-friendly... The mechanisms of hell are nicely attuned to the mechanisms of narrative. Not so the pleasures of Paradise. Paradise is not a story. It's about what happens when the stories are over.
Interpretation
What this quote means
The quote discusses the nature of storytelling in relation to hell and paradise, suggesting that narratives thrive in conflict and suffering rather than in blissful existence.
Charles Baxter's quote highlights the idea that narratives and stories often revolve around conflict, suffering, and what we might call 'hell.' In contrast, he argues that paradise lacks the compelling elements that make a story engaging, as it represents a state of being beyond narrative – a place without struggles or stories. Thus, while hell provides fertile ground for storytelling due to its inherent drama, paradise represents an absence of conflict that is less relatable and engaging.
Themes
In practice
Example use cases
In a discussion about the nature of conflict in literature, this quote can emphasize the role of suffering in storytelling.
More from Charles Baxter
All quotes →A novel is not a summary of its plot but a collection of instances, of luminous specific details that take us in the direction of the unsaid and unseen.
The problem with love and God, the two of them, is how to say anything about them that doesn’t annihilate them instantly with the wrong words, with untruth. . . . In this sense, love and God are equivalents. We feel both, but because we cannot speak clearly about them, we end up–wordless, inarticulate—by denying their existence altogether, and, pfffffft, they die.
When all the details fit in perfectly, something is probably wrong with the story.
You know, there's something heartsick about parties like this. Look at us. We're all pretending to be smart, as if intelligence were the cure for our anguish.
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It is usual to think of good and evil as two poles, two opposite directions, the antithesis of one another...We must begin by doing away with this convention.
I suppose it is submerged realities that give to dreams their curious air of hyper-reality. But perhaps there is something else as well, something nebulous, gauze-like, through which everything one sees in a dream seems, paradoxically, much clearer. A pond becomes a lake, a breeze becomes a storm, a handful of dust is a desert, a grain of sulphur in the blood is a volcanic inferno. What manner of theater is it, in which we are at once playwright, actor, stage manager, scene painter and audience?
Only the peak feels so sound and stable that the beginning of the falling is hidden for a little while.
If [people] place such things as friendship and family ties above their own productive work, yes, then they are immoral. Friendship, family life and human relationships are not primary in a man's life. A man who places others first, above his own creative work, is an emotional parasite.
Religion, a mediaeval form of unreason, when combined with modern weaponry becomes a real threat to our freedoms. This religious totalitarianism has caused a deadly mutation in the heart of Islam and we see the tragic consequences in Paris today.