“I’m sorry that we, as a literary culture, seem to be losing faith in the omniscient narrator. People say, “Oh, I need to know who’s telling the story, otherwise I don’t know what to believe. I don’t know whether to believe it at all.” And another thing we see more and more of is the bloody present tense. I hate books written in the present tense! I refuse to read them. Actually, no, I don’t refuse to read them, because there have been some very fine books written in the present tense, and by design I might have used the present tense. But I think it’s kind of an abdication of narrative responsibility, because we know it’s not happening now, and she’s not coming downstairs now and looking out the window now. It’s already happened! It’s been written about and printed!
This pretense that it’s happening now is a silly thing which I can’t abide, and I use every opportunity to bore people to death by telling them about it.
Oh, I’m perfectly happy to be at the vulgar end. I’m with G. K. Chesterton on this. He said that literature was a luxury but fiction was a necessity. We can’t live without fiction, and I’m very happy to supply the thing that we can’t live without. If that puts me in the company of Dwayne (the Rock) Johnson and Lee Child, I don’t mind a bit.”
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[“BLA and GB Gabbler” (really just a pen name – singular) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, goodreads, and Vulcan’s shit list.]
“If we look at the various creative impulses that went into Lewis’ fantasies, we will see how they all come together in Perelandra. We can start with Lewis the self-confessed ‘dinosaur.’ As we have seen, he disliked modernity and its ‘goods’ – in particular the glorification of technology, the social ideal of equality and the liberalism of present-day theology – and turned, like his friend Tolkien, toward medieval cultural values; his description of William’s theology as ‘Nicene, hierarchical, severe,’ might equally apply to his own. He was particularly alienated from the humanist character of contemporary literature and criticism; and most of his own literary criticism is concerned rather with allegory or myth than the novel. In his inaugural lecture, De Descriptione Temporum, as Professor of Medieval and Renaissance English literature at Cambridge in 1954, he described himself as an ‘Old Western’ man, by which he meant that by preference he belonged to a culture which (as far as he was concerned) ended about 1830.”