Literal and Psychological Realities

Reality can be defined simply as an actuality, thus it is hard to define a work of fiction as “real” because fiction is, by definition, something that is a fabrication as opposed to fact. Yet there are certain parts of fiction that can’t be seen as a lie. Our emotional responses to works of fiction can be similar to the response we get when reading todays most popular news articles, like a the articles about the most recent ISIS executions. Our reaction to the work shows that, in any story, there is a sense of reality. If there wasn’t, then we wouldn’t be able to feel an emotional response because connecting to the story would be impossible. All fiction, whether it’s historical, psychological, or about the nature of creatures on earth, has its basis in fact, but a piece of fiction doesn’t have to be factual to seem real to the reader.

Historical fiction is one of the most interesting sorts of fiction because it is usually based on the undeniable truths that happened in history, but still holds the intrigue and suspense because of the contrasting fabricated plot. The stories in this genre are arguably more “real” in nature because of their firm grip in the evidence of the past, but they are also realistic because of the emotions they draw up in us as we read. When Peter Farquhar was going through the stages of his execution in “An Occurrence at Owl Creek Bridge,” a short story by Ambrose Bierce, we can live through the moments with him as he realizes the pain and torture of death by hanging. Similarly, the recent articles and specials in the news about the ISIS executions of journalists have forced us all to think more about life and what those dying moments are like. Videos from ISIS have been sent more frequently over the past few months and are getting the attention of reporters all over the world. In the ABC article “ISIS Hostages Likely Faced Mock Executions Before Beheadings,” the writers Meek, Ross, and Schwartz focus on the emotional and mental trauma caused by the videos of various executions. The article explains how the videos themselves may not all be of the actual actions of a beheading, but instead may be staged for ransom purposes before the hostage is then killed off-camera and off-site. These new pieces of information and speculation somehow make the executions seem even more terrible because of ISIS’s most recently found type of torture: the threat of death over and over again in a video that will be seen by your loved ones. In Bierce’s short story, Farquhar thinks back to his own family moments before dying, showing the most caring side of human nature, something that tends to pluck at our heartstrings much like the stories of ISIS victims’ families and realizing the pain they must be going through. Empathy is one of the most real sensations that we can feel and tends to bring other emotions with it, such as love, hatred, and fear.

The realities of a thriller are more eerie and dark than those of a story with a historical basis and an empathetic response. A horror story doesn’t necessarily bring up an empathetic sensation or feeling, but forces the reader to think of the many darker possibilities of life, like psychosis and murder. These darker aspects of life have always been taboo subjects, swept under the metaphorical rug without another thought, but a horror story forces us to think about the terrible evils of the world. One of these psychotic breaks can be found in Edgar Allan Poe’s “The Black Cat.” In this story, the main character is first depicted as an animal lover and a man who cares for his wife. Then, gradually and with the help of alcohol, he falls into a different mindset, one filled with abuse and hatred for nearly everything and everyone in his life. He becomes “more moody, more irritable, more regardless of the feelings of others” (Poe) which then leads to his disregard for the first cat, Pluto, the second cat, and his wife. Similar cases can often be seen in murders, even recently. There is some catalyst for a psychotic break, and then, hours or maybe months later, death and destruction follows, like the case of Christian Longo, a man who felt too trapped by finances and snapped, murdering his wife and three young children. The most horrifying part of thrillers like “The Black Cat” is that, excluding the supernatural aspects, the story is entirely possible and realistic. Horror stories bring the most gruesome truths of society into the light, making them seem even more terribly real. They show the darker side of what we humans are capable of instead of the positive light many of us choose to see ourselves in.

Stories can give a glimpse into human nature, even when the tale itself is fictional and, if anything, a fictional tale is more relatable because of the ambiguity of the characters. This obscureness of characters makes it easier for we readers to put ourselves into the story and feel what various characters feel. Some stories can be difficult to blend into, but certain ones, like Jack London’s “To Build A Fire,” are written in a way that enhances the human qualities of the main character so we can quickly connect to the character’s actions and thoughts. While reading “To Build A Fire,” we can feel the frustration, panic, and despair as the main character does, which makes the tale seem just as real as if it happened to us. Another possible connection that makes this story seem so real is the mixture of narcissism and stubbornness before the main character falls into the feelings of desperation and defeat. The man in the story thinks that he can trek for miles alone in the terrible Yukon winter, despite the warnings of a more experienced man. His arrogance and persistence seem to work in his favor for a while, but gradually his pride and refusal to admit defeat gets him into worse and worse situations until he eventually dies. This arrogance and stubbornness is widely known throughout the world as a human quality that can get us into trouble. These few things, false confidence and nonacceptance of the need for assistance, can be seen throughout everyone, and thus create a connection that can pull us deeper into the story and make us feel all the emotions the character feels.

A story being “real” does not mean that it has to be factual, only that there is a sense of plausibility and a tangible quality to the tale. There are many levels of reality for many different people, so it is possible that a story that seems reasonable to me may be outlandish to you. Each person and each story has the option to make a connection or not, depending on the circumstances of the plot. Even the extremities of the fictional genre, such as fantasy or mythology, have an underlying lesson of reality to them in the forms of psychology and morals. These two things are a part of life that we all deal with which makes them so easily tied into tales. For fiction, the idea of walking in someone else’s shoes is what makes the story seem so real, not the presence of certainty.