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Everyone tries to create a world he can live in, and what he can't use he often can't see. But the real world is already created, and if your fabrication doesn't correspond, then even if you feel noble and insist on there being something better than what people call reality, that better something needn't try to exceed what, in its actuality, since we know it so little, may be very surprising. If a happy state of things, surprising; if miserable or tragic, no worse than what we invent.
Art must take reality by surprise. It takes those moments which are for us merely a moment, plus a moment, plus another moment, and arbitrarily transforms them into a special series of moments held together by a major emotion. Art should not, it seems to me, pose the “real” as a preoccupation. Nothing is more unreal than certain so-called “realist” novels — they’re nightmares. It is possible to achieve in a novel a certain sensory truth — the true feeling of a character — that is all.
Unlike lying, an imagined reality is something that everyone believes in, and as long as this communal belief persists, the imagined reality exerts force in the world. The sculptor from the Stadel Cave may sincerely have believed in the existence of the lion-man guardian spirit. Some sorcerers are charlatans, but most sincerely believe in the existence of gods and demons. Most millionaires sincerely believe in the existence of money and limited liability companies. Most human-rights activists sincerely believe in the existence of human rights. No one was lying when, in 2011, the UN demanded that the Libyan government respect the human rights of its citizens, even though the UN, Libya and human rights are all figments of our fertile imaginations.
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