“In fact, I would argue that these mythic modes are more easily identifiable in historiographical than they are in ‘literary’ texts. For historians usually work with much less linguistic(and therefore less poetic) self-consciousness than writers of fiction do. They tend to treat language as a transparent vehicle of representation that brings no cognitive baggage of its own into the discourse.”

"Nathaniel Hawthorne"
Other Inquisitions (1952)

"The fictions of factual representation"

Source: Essays in the Philosophy of Language, 1967, p. 20-21

Conversation with George MacBeth on Third Programme (BBC) (1 February 1967), published in The New S.F. (1969), edited by Langdon Jones
Context: I think the new science fiction, which other people apart from myself are now beginning to write, is introverted, possibly pessimistic rather than optimistic, much less certain of its own territory. There's a tremendous confidence that radiates through all modern American science fiction of the period 1930 to 1960; the certainty that science and technology can solve all problems. This is not the dominant form of science fiction now. I think science fiction is becoming something much more speculative, much less convinced about the magic of science and the moral authority of science. There's far more caution on the part of the new writers than there was.

"Introduction" to the French edition (1974) of Crash (1973); reprinted in Re/Search no. 8/9 (1984)
Crash (1973)
Context: We live in a world ruled by fictions of every kind — mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the preempting of any free or original imaginative response to experience by the television screen. We live inside an enormous novel. For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer's task is to invent the reality.

Source: Billy Budd, the Sailor (1891), Ch. 28
Context: The symmetry of form attainable in pure fiction can not so readily be achieved in a narration essentially having less to do with fable than with fact. Truth uncompromisingly told will always have its ragged edges...

Interview with Jon Ralston, Ralston Live (18 June 2015) http://watch.knpb.org/video/2365512486/
Presidential campaign (April 12, 2015 – 2016)

Source: Three Lives & Tender Buttons

Poetry International Programme note (1967); also in Selected Translations (2006), edited by Daniel Weissbort, p. 10
Context: However rootedly national it may be, poetry is less and less the prisoner of its own language. It is beginning to represent as an ambassador, something far greater than itself. Or perhaps, it is only now being heard for what, among other thngs, it is — a universal language of understanding, coherent behind the many languages in which we can all hope to meet. … We now give more serious weight to the words of a country's poets than to the words of its politicians — though we know the latter may interfere more drastically with our lives. Religions, ideologies, mercantile competition divide us. The essential solidarity of the very diverse poets of the world, besides being mysterious fact is one we can be thankful for, since its terms are exclusively those of love, understanding and patience. It is one of the few spontaneous guarantees of possible unity that mankind can show, and the revival of an appetite for poetry is like a revival of an appetite for all man's saner possibilities, and a revulsion from the materialist cataclysms of recent years and the worse ones which the difference of nations threatens for the years ahead.
The idea of global unity is not new, but the absolute necessity of it has only just arrived, like a sudden radical alteration of the sun, and we shall have to adapt or disappear. If the nations are ever to make a working synthesis of their ferocious contradictions, the plan will be created in spirit before it can be formulated or accepted in political fact. And it is in poetry that we can refresh our hope that such a unity is occupying people's imaginations everywhere, since poetry is the voice of spirit and imagination and all that is potential, as well as of the healing benevolence that used to be the privilege of the gods.