“A year after that very popular novel came out I read an article summarizing a study about that novel conducted by scholars at a well-known university. The study documented that the vast majority of people who bought and read this popular book believed it was not a novel, but an absolutely true story, though the book was marketed as a work of fiction, and nowhere on or in the book did the publisher or author claim the story was true. The study further reported that when people who loved this book were informed that the story was not true, they reacted with either tremendous anger or enormous disappointment, or both.”
This is Todd Walton discussing an interesting phenomenon, from Know Your Audience. And it is something he has personally experienced with his own fiction writing:
“I became aware of this phenomenon—people believing fiction is true—some years before this mass delusion about a popular novel swept the nation. In those long ago days, I frequently gave public readings of my fiction; and it was during the mid-1980s that more and more people began to experience my stories as true rather than as fiction. In response to this phenomenon, I would preface my reading of each story by declaring that the tale was not autobiographical, not inspired by supposedly true events, and was most definitely a work of fiction.
“Even with this disclaimer, many people in my audiences continued to assume my stories were recollections of things that had really happened to me, regardless of how preposterous that possibility.”
It’s not only that people were adamant about believing his fiction was real. They would get quite upset when told once again that it was fiction, even though they already had this explained to them before the reading. Some of them accused the author of lying to them. And a few left the room in protest.
From a slightly different perspective, here is an anecdote shared by Harlan Ellison:
“He told me– and he said this happened all the time, not just in isolated cases– that he had been approached by a little old woman during one of his personal appearances at a rodeo, and the woman had said to him, dead seriously, “Now listen to me, Hoss: when you go home tonight, I want you to tell your daddy, Ben, to get rid of that Chinee fella who cooks for you all. What you need is to get yourself a good woman in there can cook up some decent food for you and your family.”
“So Dan said to her, very politely (because he was one of the most courteous people I’ve ever met), “Excuse me, ma’am, but my name is Dan Blocker. Hoss is just the character I play. When I go home I’ll be going to my house in Los Angeles and my wife and children will be waiting.”
“And she went right on, just a bit affronted because she knew all that, what was the matter with him, did he think she was simple or something, “Yes, I know… but when you go back to the Ponderosa, you just tell your daddy Ben that I said…”
“For her, fantasy and reality were one and the same.”
I quoted that in a post I wrote about a similarly strange phenomenon. It’s how people are able to know and not know simultaneously (a sub-category of cognitive blindness; related to inattentional blindness, contextual ignorance, hypocognition, and conceptual blindness). With that in mind, maybe some of those people in Walton’s various audiences did know it was fiction, even while another part of them took it as real.
This kind of dissociation is probably more common than we might suspect. The sometimes antagonsitic responses he got could have been more than mere anger at having their perception denied. He was going beyond that in challenging their dissociation, which cuts even deeper into the human psyche. People hold onto their dissociations more powerfully than maybe anything else.
There is another factor as well. We live in a literal-minded age. Truth has become conflated with literalism. When something feels true, many people automatically take it as literal. This is the power of religion and its stories, along with politics and its rhetoric. But some argue that literal-mindedness has increased over time, starting with the Axial Age and becoming a force to be reckoned with in this post-Enlightenment age of scientism and fundamentalism. That is what leads to the black-and-white thinking of something either being literally true or absolutely false (a blatant lie, a frivolous fantasy, etc). Iain McGilchrist describes this as the brain dominance of the left hempisphere’s experience and the suppression of right hemisphere’s emotional nuance and grounded context.
This mindset isn’t just a source of amusing anecdotes. It has real world consequences. The most powerful stories aren’t told by fiction writers or at least not by those openly identifying as such. Rather, the greatest compelling storytellers of our age work in news media and politics. The gatekeepers have immense influence in determining what is real or not in the public mind. This is why there is a battle right now over fake news. It’s a battle among the gatekeepers.
This connects to the smart idiot effect. It’s interesting to note that, according to studies, the least educated are the most aware of the limits of their knowledge and expertise. It requires being well educated to fall into the trap of the smart idiot effect (hence why it is called that). This is the reason media personalities and politicians can be so dangerous, as they are people who talk a bit about everything while often being an expert in nothing or, at best, their expertise being narrowly constrained. This is fertile ground for storytelling. And this is why attention-grabbing politicians like Ronald Reagan and Donald Trump first became famous as media personalities — their being experts only in entertainment and egotism. Those like Reagan and Trump are storytellers who embody the stories they tell. They pretend to be something they are not and their audience-supporters take the pretense for reality.
This is seen in many areas of society but particularly on right-wing media. Interestingly, according to research, it is most clearly evidenced among the most well informed audience members of right-wing media who simultaneously are the most misinformed. The average Fox News viewer does know more factoids than the average American (maybe no great accomplishment), but they also know more falsehoods than the average American. What they don’t know very well is how to differentiate between what is true and not true. To be able to make this differentiation would require they not only be able to memorize factoids but to understand the larger context of knowledge and the deeper understanding of truth — the subltety and nuance provided primarily by the right hemisphere, according to Iain McGilchrist. Otherwise, factoids are simply fodder for talking points. And it leads to much confusion, such as a surprising percentage of conservatives taking seriously Stephen Colbert’s caricature of conservatism. Isn’t that interesting, that many conservatives can’t tell the difference between supposedly authentic conservatism and a caricature of it? The election of Donald Trump, an apolitical demagogue posing as a conservative, emphasizes this point.
It is maybe no accident that this phenomenon manifests the strongest on the political right, at least in the United States. It could be caused by how, in the US, authoritarianism is correlated to the political right — not so in former Soviet countries, though. So the main causal factor is probably authoritarianism in general (and, yes, authoritarianism does exist within the Democratic Party, if not to the extreme seen within the GOP; but I would note that, even though Democratic leaders are to the left of the far right, they are in many ways to the right of the majority of Americans… as observed in decades of diverse public polling). Research does show that authoritarians don’t mind being hypocritical, assuming they even comprehend what hypocrisy means. Authoritarians are good at groupthink and believing what they are told. They are literal-minded, as for them the group’s ideology and the leader’s words are identical to reality itself, literally. One could interpret authoritarianism as an extreme variety of dissociation.
I wouldn’t be surprised if Todd Walton’s most offended audience members would test as higher on authoritarianism. Such people have a strong desire to believe in something absolutely. Self-aware use of imagination and the imaginal is not an area of talent for them nor the trait of openness upon which it depends. This is because they lack the tolerance for cognitive dissonance, a necessary component of suspension of disbelief in the enjoyment of fiction. It makes no sense to them that a story could be subjectively true while being factually false (or factually partial). Hence, the sense of being deceived and betrayed. The fiction writer is an unworthy authority figure to the authoritarian mind. A proper authoritarian demagogue would tell his followers what they wanted to hear and would never then tell them that it was just fiction. The point of storytelling, for the authoritarian, is that it is told with utter conviction — it being irrelevant whether or not the authoritarian leader himself believes what he says, just that he pretends to believe.
Authoritarians aside, it should be noted that most people appear to be able to distinguish between truth and falsehood, between non-fiction and fiction. People will say they believe all kinds of things to be true. But if you give them enough of an incentive, they will admit to what they actually believe is true (priming them for rational/analytical thought would probably also help, as various studies indicate). And it turns out most people agree about a lot of things, even in politics. Dissociation has its limits, when real costs and consequences are on the line. But most storytelling, whether fictional or political, won’t effect the concrete daily life of the average person. People want to believe stories and so will take them literally, especially when a story has no real impact. For example, believing in the literal reality that bread and wine becomes the body and blood of Christ is an attractive story for it being largely irrelevant, just a pleasant fiction to create a social bonding experience through ritual (and evidence indicates that many ancient people perceived such things metaphorically or imaginally, instead of literally; the mythical being a far different experience from the literal). Literal-minded people forget that something can have truth value without being literally true. That is what stories are about.
So, it’s possible that if there had been some concrete and personal incentive for self-aware honesty (at least some of) those seemingly naive audience members would have admitted that they really did know that Todd Walton’s readings were fictional. It’s just that, under the actual circumstances with little at stake, their only incentive was their own emotional commitment in being drawn into the story. To be told it is fiction is like being told their experience is false, which would be taken as a personal attack. What they are missing, in that situation, is the willingness to separate their experience of the story from the story itself. It feels so real that they it would ruin their experience of it to imagine it not being real. That is a successful story.
(By the way, this helps explain why Plato so feared the poets, the storytellers of that era. See some context for this in an earlier post of mine, On Truth and Bullshit: “Frankfurt talks about the ‘bullshit artist’. Bullshitters are always artists. And maybe artists are always bullshitters. This is because the imagination, moral or otherwise, is the playground of the bullshitter. This is because the artist, the master of imagination, is different than a craftsmen. The artist always has a bit of the trickster about him, as he plays at the boundaries of the mind.”)
* * *
For some further thoughts from Iain McGilchrist:
The Master and His Emissary
“Anything that requires indirect interpretation, which is not explicit or literal, that in other words requires contextual understanding, depends on the right frontal lobe for its meaning to be conveyed or received. 132 The right hemisphere understands from indirect contextual clues, not only from explicit statement, whereas the left hemisphere will identify by labels rather than context (e.g. identifies that it must be winter because it is ‘January’, not by looking at the trees). 133
“This difference is particularly important when it comes to what the two hemispheres contribute to language. The right hemisphere takes whatever is said within its entire context. 134 It is specialised in pragmatics, the art of contextual understanding of meaning, and in using metaphor. 135 It is the right hemisphere which processes the non-literal aspects of language, 136 of which more later. This is why the left hemisphere is not good at understanding the higher level meaning of utterances such as ‘it’s a bit hot in here today’ (while the right hemisphere understands ‘please open a window’, the left hemisphere assumes this is just helpful supply of meteorological data). It is also why the right hemisphere underpins the appreciation of humour, since humour depends vitally on being able to understand the context of what is said and done, and how context changes it. Subjects with right brain damage, like subjects with schizophrenia, who in many respects resemble them, cannot understand implied meaning, and tend to take conversational remarks literally.”
“Metaphor is the crucial aspect of language whereby it retains its connectedness to the world, and by which the ‘parts’ of the world which language appears to identify retain their connectedness one to another. Literal language, by contrast, is the means whereby the mind loosens its contact with reality and becomes a self-consistent system of tokens.”
“Metaphorical understanding has a close relationship with reason, which seems paradoxical only because we have inherited an Enlightenment view of metaphor: namely, that it is either indirectly literal, and can be reduced to ‘proper’ literal language, or a purely fanciful ornament, and therefore irrelevant to meaning and rational thought, which it indeed threatens to disrupt. It is seen as a linguistic device, not as a vehicle of thought. What the literalist view and the anti-literalist view share is that, ultimately, metaphor can have nothing directly to do with truth. Either it is simply another way of stating literal truth or else it undermines any claim to truth. But as Lakoff and Johnson have shown, ‘metaphor is centrally a matter of thought, not just words’. 2 The loss of metaphor is a loss of cognitive content.”
that must be some movie!
I watched eXistenZ again for a couple of reasons. Quentin S. Crisp mentioned it in his blog recently. Crisp thought it was the best alternative reality movie ever, but I’m not sure what he was comparing it to. After reading Crisp’s comment, I happened to be at the library where I noticed a copy and so checked it out.
I’m glad I did. I had more respect for it watching it again. Cronenberg does play with some fairly deep ideas. The first time I watched eXistenZ I thought of it as nothing but a novel SciFi action flick. I personally don’t agree with Crisp that its the best, but I disagree because I don’t feel that its directly comparable to other alternative reality movies such as The Matrix Trilogy or Dark City.
right, how can you really compare these movies? so, worth watching then?
I doubt you’d like much that Cronenberg has made. He has made a lot of films though, and I haven’g watched most of them. I was reading the description of M. Butterfly and you might enjoy it.
Cronenberg is most famous for the movieThe Fly. That is more representative of his oeuvre. I find many of his movies fascinating, but the only one that I’ve watched repeatedly many times is Naked Lunch.
There is a couple reasons.
First, it felt a lot more polished than his earlier movies. He really was taking his favorite themes to a new level… maybe because he was using the work of another artist as the starting point.
Secondly, I’m also attracted to this movie because its a portrayal of Burroughs novel which itself is a fictional portrayal of part of his own life. Petter Weller plays the part of William Lee (Burroughs) perfectly. Both my friend and I are longtimefans of Borroughs, and so I’ve watched this movie with him numerous times.
it’s great you have such a friend, Marm. It enriches these experiences.
I’m sure I’d be a different person if not for him. If it weren’t for our friendship, I probably wouldn’t have the interest I have in fiction.
We have this odd pattern. Often, when one of us is reading fiction, the other is reading non-fiction. As I was wanting to get back into fiction, I was telling him he needs to stop reading fiction all of the time.
Also, you can entirely blamemy friend forall of my blogging about horror. He reads horror all of the time and tells me about the stories. I wouldn’t even know about Quentin S. Crisp if it wasn’t for him.
It is rather strange to have had a close friend since childhood. Its seems rather uncommon in these days of people moving around all of the time. It also helps that neither of us is marriednorhas acareer. Life is good! lol
Hey Nicole – I’ve been noticing a new glitch in the system. All my recent posts show up as missing spaces between words. I can fix it by editing, but its seems an odd glitch. Have you noticed this happening to your comments?
No. But I have noticed extra indents. We seem to be having the opposite problems 🙂