I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its presence. I much prefer history – true or feigned– with its varied applicability to the thought and experience of readers. I think that many confuse applicability with allegory, but the one resides in the freedom of the reader, and the other in the purposed domination of the author.
Storytelling reveals meaning without committing the error of defining it.
I dislike Allegory - the conscious and intentional allegory - yet any attempt to explain the purport of myth or fairytale must use allegorical language.
Because, as we know, almost anything can be read into any book if you are determined enough. This will be especially impressed on anyone who has written fantastic fiction. He will find reviewers, both favourable and hostile, reading into his stories all manner of allegorical meanings which he never intended. (Some of the allegories thus imposed on my own books have been so ingenious and interesting that I often wish I had thought of them myself.)
Fiction reveals truth that reality obscures.
I cordially dislike allegory in all its manifestations.
If you have distance from the events, then your story can work as an analogy or parable rather than its literal narrative.
'Life of Pi' was actually a very simple novel to write.
I cordially dislike allegory in all its manifestations, and always have done since I grew old and wary enough to detect its presence.
With the 'Watchmen' comic, we attempted to tell it in an accessible way. I deliberately made the artwork very clear, deceptively so. You think you're sucking on a sweetie, but it turns out to be a sugar-coated chili.
A novel is never anything, but a philosophy put into images.
The 'Bourne' movies are great in their own ways; it introduces a whole other sort of allegory about the Bush years. The secrecy and the threats of a big global organization.
Stories are light. Light is precious in a world so dark. Begin at the beginning. Tell Gregory a story. Make some light.
Contrary to what Kafka does, I always like to refer all of my fictions to the level of reality, He, on the other hand, leaves them at an imaginary level.
Fiction is an elemental force, which has the power to shape reality in its own image - or images, I should say - because reality, like light, exists not only as a single point or particle, but also as an array of possibilities.
My fiction has been influenced by the visual arts, though not in obvious ways, it seems to me. I don't offer tremendous amounts of visual information in my work.
Many poets in Iran have learned to speak almost a secret language, where political issues are talked about in allegorical ways.
Some stories are true that never happened.
A myth is far truer than a history, for a history only gives a story of the shadows, whereas a myth gives a story of the substances that cast the shadows.
Fiction is the truth inside the lie.
It's Aslan, the lion from The Lion, The Witch And The Wardrobe. It's a symbol of my hellish childhood. I struggled through my oppressive teenage years and when I turned 18 I escaped. Like Aslan I was finally free.
I don't know if you'd do a Marvel story on Ferguson, because it trivializes what the real flesh-and-blood people on the ground are doing there. But you can make an allegory and deal with the bigger questions.
The imagined beings have their insides on the outside; they are visible souls. And man as a whole, Man pitted against the universe, have we seen him at all till we see that he is like a hero in a fairy tale?
Fiction is the only way to redeem the formlessness of life
The Company of Wolves doesn't belong in any category, so it's difficult to prepare an audience for it. It's not a horror film, it's not a fantasy film, it's not a children's film - so what is it?
