"My attitudes have changed, but somebody would have to read all my books to find out how they have"
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There is a small act of defiance tucked into Shaw's modest phrasing: if you want the real story of my evolution, you dont get it in an interview pull-quote. You earn it. The line reads like a courteous brush-off, but it is really a claim about where a writers life can be truthfully located - not in confessions, not in public positions, but in the slow accumulation of scenes, voices, and choices on the page.
The intent is partly practical. Shaw wrote across decades of American upheaval - war, blacklists, postwar disillusionment, the grind of middle-class aspiration. A novelist who lived through those shifts would have been asked, repeatedly, to summarize himself into a neat arc: early idealist, later cynic; political to apolitical; radical to respectable. Shaw refuses the simplification. "My attitudes have changed" concedes growth, even contradiction. The second clause twists the knife: the change is not a slogan, it is a narrative.
Subtext: literature is his record, but also his alibi. By insisting that his books are the evidence, Shaw protects the messy, uncaptionable parts of intellectual life - the half-turns, the reversals, the compromises. He also flatters the reader with a dare: the only way to know him is to take his work seriously, in sequence, with attention. Its a quiet rebuke to a culture that wants the author as a personality brand. Shaw offers something harder and more honest: a self that can only be tracked through art.
The intent is partly practical. Shaw wrote across decades of American upheaval - war, blacklists, postwar disillusionment, the grind of middle-class aspiration. A novelist who lived through those shifts would have been asked, repeatedly, to summarize himself into a neat arc: early idealist, later cynic; political to apolitical; radical to respectable. Shaw refuses the simplification. "My attitudes have changed" concedes growth, even contradiction. The second clause twists the knife: the change is not a slogan, it is a narrative.
Subtext: literature is his record, but also his alibi. By insisting that his books are the evidence, Shaw protects the messy, uncaptionable parts of intellectual life - the half-turns, the reversals, the compromises. He also flatters the reader with a dare: the only way to know him is to take his work seriously, in sequence, with attention. Its a quiet rebuke to a culture that wants the author as a personality brand. Shaw offers something harder and more honest: a self that can only be tracked through art.
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