Simon Ortiz says, "It's fiction and you'd better believe it." I always loved that line. Another way to say it is that fiction is a vertical descent; it's a drop into an event or into history or into the depths of some kind of meaning in order to understand humans, and to somehow decipher what history speaks, the story beneath the story.
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People often think that a fiction is something untrue, but this is wrong. The word derives from the Latin fingere, to make. As something made, fiction is different from something discovered, as in physics, or from something that happened, as in the news. But this does not mean it is false. Fiction is about possible selves in possible worlds.
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Fiction requires a vertical gaze-delving deeper into the non-facts, the unconscious, the realm of the imaginary. These are two very different ways of seeing the world. Fiction, for me at least, is the best way to say things. I can be much more clear-minded if I allow my imagination to take the lead-never loosing the reins, of course, but at full gallop. I also believe that, if you are fortunate, you can access the unconscious through fiction; in my case, elaborate ideas emerge in a very organized manner.
Fiction says, I believe that this could happen. It is prospective, focused on possibilities. It opens us to the possible, the hypothetical, rather than binding us to the actual. And this, more than anything, is why true stories alone aren’t enough, why we should recognize fiction and read it, why fiction is valuable. Without fiction, we might end up like the woman on the bus, unable to muster interest in anything that isn’t a True Story, that doesn’t come with shocking photographs. We would have no what ifs, only what dids. We would have nothing but the actual. And if we believe only in the actual, how small our lives would be, how limited and mean our humanity, to demand proof before we believe or conceive of suffering, loss, or strangeness.
Unlike the memoirist, who promises to tell the truth, the fiction writer says upfront, “I am going to tell you a lie, but at the end you will feel that it is true.” He or she is a kind of magician who makes sure you know that the flames are only an illusion before letting you burn your fingers in them. Every event, every character, must be made real by the author’s skill. It is a tricky balancing act, because the fiction writer aims for simultaneous belief and disbelief: a belief in the essential trueness of this world—that these people could exist, that these events could have happened—with a full consciousness of their falsehood…fiction’s role is essentially persuasive. It forces you to start from a position of disbelief by announcing its own fictitiousness. Then it transforms you into the literary equivalent of a sinner seeing the light, a prodigal son whose faith is stronger for having doubted and been redeemed. You don’t question a memoir; you believe it’s true when you pick it up. But you are told from the beginning that fiction is untrue. It depends on its own power to convince you in spite of this knowledge, and that belief, when it comes, is a complete transformation. And this is why we need fiction.
I think that in some ways maybe we've come to think of fiction as a lie. It's like the word “myth,” which means “lie” for many people; yet, myth is the highest form of truth. It is about the inner journey, about others before us who have gone that way and civilizations. It is about our life's task of becoming. In some ways I think fiction is like myth, but also fiction takes a fact or an event, even an imagined one, and it makes truth out of it. Prose is a process of uncovering, of getting to the bare, unstated facts of living. Maybe they are inner facts, maybe they are not historical, but they tell the highest truths.
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