Maybe it’s an inane mixture of things. Or something novel and deep. Guess it depends on who (or what) is reading it.
Maybe it’s nothing but with something in it. Or something but with nothing in it.
It’s not for me to say, even though I’m the author. Actually, because I’m the author.
As a matter of fact (technically just an expression, BTW), it’s each reader that decides the meaning of what(ever) he/she/it is reading, as determined by the law of Intertextuality (and quite authoritatively at that, FYI). See, this fantastic law ‘deconstructed’ (as it likes to say [not that I really know what it means]) the myth of ‘authorship’ by revealing that the actual producer of meaning is [drumrole]… the reader! Ergo (just using this word ‘coz I like how The Architect said it in Matrix 2), each ‘meaning’ is equally valid (praise the law of Equality!)—and, ergo, implicitly untrue.
This Long-Article begins with a brief introduction to the significance of Fiction; followed by a close analysis of a short story; which is then intertwined with interpretation of a related film; finishing with a closing summary; and all the relevant links listed at the end.
For centuries, literature of fiction—specifically, novels and short stories—has had a major influence upon the thoughts and attitudes of people, and has served as a catalyst for the cultural changes the West has undergone since the invention of the printing press. The social significance of fiction is important to recognize, as its power to influence is much less obvious than the overt, religious indoctrination that it has replaced. The power of fiction is not to indoctrinate, but to seduce: to affect individuals with particular ideas—but without the conscious awareness of having been engaged with an ideological sales pitch.
For this reason, learning about the essential forms and techniques of fiction can be very interesting and rewarding, as one becomes more capable of engaging with fictional works in added dimensions and with new levels of depth.
