Novels institutionalize the ruse of eros. It becomes a narrative texture of sustained incongruence, emotional and cognitive. It permits the reader to stand in triangular relation to the characters in the story and reach into the text after the objects of their desire, sharing their longing but also detached from it, seeing their view of reality but also its mistakenness. It is almost like being in love.
Interpretation
The quote explores how novels create a complex emotional experience for readers, akin to the feeling of being in love.
Anne Carson's quote reflects on the nature of storytelling and its ability to evoke deep emotional connections. Novels create a framework that allows readers to engage with characters' desires and emotional states while maintaining a degree of detachment. This duality enables readers to both empathize with the characters and recognize the narrative's inherent contradictions, mirroring the complexities of love and longing.
In practice
In a book club discussion, one might use this quote to highlight the emotional depth that novels can convey.
Prowling the meanings of a word, prowling the history of a person, no use expecting a flood of light. Human words have no main switch. But all those little kidnaps in the dark. And then the luminous, big, shivering, discandied, unrepentant, barking web of them that hangs in your mind when you turn back to the page you were trying to translate.
[Short Talk on Sylvia Plath] Did you see her mother on television? She said plain, burned things. She said I thought it an excellent poem but it hurt me. She did not say jungle fear. She did not say jungle hatred wild jungle weeping chop it back chop it. She said self-government she said end of the road. She did not say humming in the middle of the air what you came for chop.
To live past the end of your myth is a perilous thing.
I emphasize the distinction between brackets and no brackets because it will affect your reading experience, if you will allow it. Brackets are exciting. Even though you are approaching Sappho in translation, that is no reason you should miss the drama of trying to read a papyrus torn in half or riddled with holes or smaller than a postage stamp--brackets imply a free space of imaginal adventure.
Sometimes I dream a sentence and write it down. It’s usually nonsense, but sometimes it seems a key to another world.
The words we read and words we write never say exactly what we mean. The people we love are never just as we desire them. The two symbola never perfectly match. Eros is in between.
A report of a most alarming nature reached me two days ago.
There is a great discovery still to be made in literature, that of paying literary men by the quantity they do not write.
The language of my books has shaped me as a man.
After I had my son I looked everywhere for a book that might serve as some kind of mirror. I bought so many silly books. Now I see what the problem was: I wanted a book about time-about mortality. I can't think of a writer who is at once so experimentally daring and so rigorously uncompromising as Sarah Manguso. Ongoingness is an incredibly elegant, wise book, and I loved it.
I’ve always believed that as an author, I do 50% of the work of storytelling, and the reader does the other 50%. There’s no way I can control the story you tell yourself from my book. Your own experiences, preferences, prejudices, mood at the moment, current events in your life, needs and wants influence how you read my every word.
Amos Oz is one of the finest novelists of this entire period. MY MICHAEL is a beautiful work of great depth and in some indescribable way lingers in the mind as a lyric song to his country's people as much as a moving love story.
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