The Hidden Girl and Other Stories

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There is a paradox at the heart of the art of fiction, at least as I’ve experienced it: while the medium of fiction is language, a technology whose primary purpose is communication, I can only write satisfying fiction by eschewing the communicative purpose.

An explanation. As the author, I construct an artifact out of words, but the words are meaningless until they’re animated by the consciousness of the reader. The story is co-told by the author and the reader, and every story is incomplete until a reader comes along and interprets it.

Each reader comes to the text with their own interpretive frameworks, assumptions about reality, background narratives concerning how the world is and ought to be. These are acquired through experience, through every individual’s unique history of encounters with irreducible reality. The plausibility of plot is judged against these battle-scars; the depth of characters is measured against these phenomenon-shadows; the truth vel non of each story is weighed with the fears and hopes residing in each heart.

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