We read nonfiction for knowledge, new ideas, or to understand someone's
perspective on, or analysis of, the world. We analyze works of nonfiction to
recognize how choices of content and language shape the reader's perceptions
and encourage the reader's acceptance.
Fiction is subjective and evocative. It is "made up," and indirect
in its
communication. A work of fiction may evoke:
-
the thrill of imagining impossible or unavailable experiences
-
intrigue with playing out "what if" or" if only" scenarios
-
feelings and perceptions of another historical period, or simply observations
on the human condition
We thus read fiction not to gain new information so much as to experience the
ideas and
feelings a story inspires within us.
Readers have different expectations from fiction and nonfiction. Proof is a
major issue with nonfiction; emotional involvement is a major issue
with fiction. We expect a story (fiction) to grab us, an essay (nonfiction) to
convince us. We will suspend belief when reading a romance novel or science
fiction, but demand reason and evidence from nonfiction.
For passing time or sheer enjoyment, of course, simply reading
the story can be satisfaction and reward enough. We do not have to analyze
everything we read. The point is to be able to interpret when we want to—or
have to.
Both fiction and nonfiction can be subjected to analysis and interpretation.
These two forms of expression are, however, examined somewhat differently. One
analyzes a nonfiction text
-
to discover underlying themes and perspectives, as well as
-
to realize how choices of content and language shape the reader's perception
and encourage the reader's acceptance.
Analyzing Lincoln's Gettysburg Address, for instance, we can recognize not only
remarks on the dedication of a cemetery, but comparisons between images of the
living and dead, between what has been done and what must be done.
We analyze fictional works for recurring themes that reflect on the broader
human experience. People do not really tell
nursery rhymes so that children will know about a girl named Cinderella or
about pigs who built houses. The stories have deeper, unstated meanings:
virtue rewarded (Cinderella) or the folly of a lack of industry (The Three
Little Pigs). We respond to both the story and an underlying message.
On the surface, Melville's
Moby Dick
, for instance, might
be seen as an adventure story about a man hunting a whale. On closer analysis
and interpretation, the novel might be seen as a depiction of man's
battle to subdue nature or of a battle between good and evil. Since fiction is
indirect, fiction can require a significant degree of analysis and
interpretation if one is to get beyond simply following the story.
The meaning of fictional works is more personal than that of nonfiction texts.
With nonfiction texts, we assume any two readers will come away with pretty
much the same understanding of what the text states. While we may not agree
with someone else's interpretation, we should be able to follow their analysis.
With fiction, the meaning is dependent on the perceptions, imagination, and
feelings of the reader. In both cases, however, we demand that an
interpretation be based on evidence on the page. And in both cases, part of
understanding is understanding one's own interests, values, and desires and how
they affect what one looks for and how one thinks about what one finds.