User:Sherrilledwards/sandbox: Difference between revisions

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This book is fiction. But there is always a chance that such a work of fiction may throw some light on what has been written as fact.

{{cquote|This book is fiction. But there is always a chance that such a work of fiction may throw some light on what has been written as fact.|author=Ernest Hemingway|source=''A Moveable Feast''{{sfn|Hemingway|2009|p=230}}}}

~~—Ernest~~ Hemingway{{sfn|Hemingway|2009|p=230}}

{{cquote|[I]t is the author’s contention that good fiction—if the writer can achieve it—is more real, that is, more nourishing to our sense of reality, than non-fiction. . . . novelists have a unique opportunity—they can create superior histories out of an enhancement of the real, the unverified, and the wholly fictional.|author=Norman Mailer|source=''Harlot's Ghost''{{sfn|Mailer|1991|p=1287-8}}}}

[I]t is the author’s contention that good fiction—if the writer can achieve it—is more real, that is, more nourishing to our sense of reality, than non-fiction. . . . novelists have a unique opportunity—they can create superior histories out of an enhancement of the real, the unverified, and the wholly fictional.

~~—Norman Mailer{{sfn|Mailer|1991|p=1287-8}}~~

{{dc|dc=W|hat is the rhetoric of modernism?}} Is the Modern novel “the epic of a world that has been abandoned by God?”{{sfn|Lukács|1971|p=88}} If so, why do religious themes still appear? Are they the Cheshire Cat’s grin, nostalgic echoes of a vanished age, cosmic footprints left in the wasteland of Modernity? Or are they rumors of grace? How does God-language function in the work of Ernest Hemingway (1899–1961) and Norman Mailer (1923–2007)?

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-This book is fiction. But there is always a chance that such a work of fiction may throw some light on what has been written as fact.
+{{cquote|This book is fiction. But there is always a chance that such a work of fiction may throw some light on what has been written as fact.|author=Ernest Hemingway|source=''A Moveable Feast''{{sfn|Hemingway|2009|p=230}}}}
-—Ernest Hemingway{{sfn|Hemingway|2009|p=230}}
+{{cquote|[I]t is the author’s contention that good fiction—if the writer can achieve it—is more real, that is, more nourishing to our sense of reality, than non-fiction. . . . novelists have a unique opportunity—they can create superior histories out of an enhancement of the real, the unverified, and the wholly fictional.|author=Norman Mailer|source=''Harlot's Ghost''{{sfn|Mailer|1991|p=1287-8}}}}
-[I]t is the author’s contention that good fiction—if the writer can achieve it—is more real, that is, more nourishing to our sense of reality, than non-fiction. . . . novelists have a unique opportunity—they can create superior histories out of an enhancement of the real, the unverified, and the wholly fictional.
-—Norman Mailer{{sfn|Mailer|1991|p=1287-8}}
 {{dc|dc=W|hat is the rhetoric of modernism?}} Is the Modern novel “the epic of a world that has been abandoned by God?”{{sfn|Lukács|1971|p=88}} If so, why do religious themes still appear? Are they the Cheshire Cat’s grin, nostalgic echoes of a vanished age, cosmic footprints left in the wasteland of Modernity? Or are they rumors of grace? How does God-language function in the work of Ernest Hemingway (1899–1961) and Norman Mailer (1923–2007)?