"One can be absolutely truthful and sincere even though admittedly the most outrageous liar. Fiction and invention are of the very fabric of life"
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Miller’s provocation hinges on a distinction most moralists try to blur: factual accuracy versus existential honesty. Calling himself, in effect, an “outrageous liar,” he doesn’t ask to be excused; he claims a higher fidelity. The paradox is the point. For a writer like Miller, truth is not a ledger of events but a temperature reading of the self. You can fabricate scenes and still be “absolutely truthful” if the invention exposes the real pressure points: desire, shame, hunger, envy, freedom.
The line also sneaks in a quiet attack on bourgeois sincerity, the kind performed through tidy narratives and socially acceptable memories. Miller suggests that what passes for honesty in polite life is often the most curated fiction of all. Meanwhile, the artist’s “lie” is openly declared as artifice, and that admission becomes its own ethical stance: I’m not giving you what happened; I’m giving you what it felt like, what it meant, what it threatened.
Context matters: Miller wrote in a 20th-century moment when autobiography and the novel were colliding, when censorship and moral gatekeeping pushed writers to defend the imaginative life as something more than escapism. His work courts scandal, but the scandal is strategic. It’s meant to force a question: if identity is built from stories we tell ourselves, why pretend the stories are optional? “Fiction and invention” aren’t decorations on life; they are the machinery that makes a life legible, even to the person living it.
The line also sneaks in a quiet attack on bourgeois sincerity, the kind performed through tidy narratives and socially acceptable memories. Miller suggests that what passes for honesty in polite life is often the most curated fiction of all. Meanwhile, the artist’s “lie” is openly declared as artifice, and that admission becomes its own ethical stance: I’m not giving you what happened; I’m giving you what it felt like, what it meant, what it threatened.
Context matters: Miller wrote in a 20th-century moment when autobiography and the novel were colliding, when censorship and moral gatekeeping pushed writers to defend the imaginative life as something more than escapism. His work courts scandal, but the scandal is strategic. It’s meant to force a question: if identity is built from stories we tell ourselves, why pretend the stories are optional? “Fiction and invention” aren’t decorations on life; they are the machinery that makes a life legible, even to the person living it.
Quote Details
| Topic | Truth |
|---|---|
| Source | Help us find the source |
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