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Message: <blockquote data-quote="Parmandur" data-source="post: 9043960" data-attributes="member: 6780330">Pretty complex, but basically that fiction thwt introduces unreality and takes it seriously elicits an excitement in many people that helps reinvigorate their view of reality itself amd provide major psychological fulfillment. Here's an essay he wrote, that opens up with an interesting commentary on only trusting criticism from a criticism who likes the type of thing in question (odd soiece for thw article, not an endorsement, juat wherw I could find it on Google):"Of the articles I have read on the subject (and I expect I have missed many) I do not find that I can make any use. For one thing, most were not very well informed. For another, many were by people who clearly hated the kind they wrote about. It is very dangerous to write about a kind you hate. Hatred obscures all distinctions. I don’t like detective stories and therefore all detective stories look much alike to me: if I wrote about them I should therefore infallibly write drivel. Criticism of kinds, as distinct from criticism of works, cannot of course be avoided: I shall be driven to criticize one sub-species of science fiction myself. But it is, I think, the most subjective and least reliable type of criticism. Above all, it should not masquerade as criticism of individual works. Many reviews are useless because, while purporting to condemn the book, they only reveal the reviewer's dislike of the kind to which it belongs. Let bad tragedies be censured by those who love tragedy, and bad detective stories by those who love the detective story. Then we shall learn their real faults. Otherwise we shall find epics blamed for not being novels, farces for not being high comedies, novels by James for lacking the swift action of Smollett. Who wants to hear a particular claret abused by a fanatical teetotaller, or a particular woman by a confirmed misogynist?"And here's the major money quote point from this article:"In all these [types of Sci-Fi/Fantasy] the impossibility is, as I have said, a postulate, something to be granted before the story gets going. Within that frame we inhabit the known world and are as realistic as anyone else. But in the next type (and the last I shall deal with) the marvelous is in the grain of the whole work. We are, throughout, in another world. What makes that world valuable is not, of course, mere multiplication of the marvelous either for comic effect (as in Baron Munchausen and sometimes in Ariosto and Boiardo) or for mere astonishment (as, I think, in the worst of the Arabian Nights or in some children's stories), but its quality, its flavor. If good novels are comments on life, good stories of this sort (which are very much rarer) are actual additions to life; they give, like certain rare dreams, sensations we never had before, and enlarge our conception of the range of possible experience. Hence the difficulty of discussing them at all with those who refuse to be taken out of what they call `real life'—which means, perhaps, the groove through some far wider area of possible experience to which our senses and our biological, social, or economic interests usually confine us—or, if taken, can see nothing outside it but aching boredom or sickening monstrosity. They shudder and ask to go home. Specimens of this kind, at its best, will never be common."[URL unfurl="true"]https://www.catholicculture.org/culture/library/view.cfm?recnum=9116[/URL]</blockquote>

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