"The purpose of narrative is to present us with complexity and ambiguity"
About this Quote
Turow is quietly arguing against the tidy lie our brains prefer: that stories exist to sort the world into heroes and villains, causes and effects, lessons and closure. As a legal-thriller novelist, he knows that narrative is often sold as a machine for certainty. Courtrooms run on competing stories that promise resolution; publishers love arcs that snap into place; audiences crave the moral accounting of an ending that feels inevitable. His line pushes back, insisting that the real value of narrative is its ability to reproduce the mess that institutions try to edit out.
“Purpose” is doing a lot of work here. It’s not “a purpose” but “the purpose,” a deliberately polemical claim that elevates ambiguity from an aesthetic preference to an ethical stance. Complexity isn’t just “many details.” It’s the uncomfortable recognition that motive is mixed, memory is unreliable, and evidence can point in more than one direction. Ambiguity isn’t confusion; it’s the honest residue left when you refuse to oversimplify.
The subtext is a rebuke to story as propaganda, whether that’s political mythmaking, true-crime certainty, or the algorithmic demand for clean takes. Turow’s own genre context matters: legal fiction is a laboratory for how narratives manufacture truth. In a trial, the most persuasive story can win even when reality stays unresolved. By defending complexity, he’s also defending the reader’s maturity, asking us to tolerate doubt without treating it as failure. Narrative, at its best, doesn’t deliver answers. It trains a skeptical empathy: the ability to hold multiple plausible versions of a life in the mind at once.
“Purpose” is doing a lot of work here. It’s not “a purpose” but “the purpose,” a deliberately polemical claim that elevates ambiguity from an aesthetic preference to an ethical stance. Complexity isn’t just “many details.” It’s the uncomfortable recognition that motive is mixed, memory is unreliable, and evidence can point in more than one direction. Ambiguity isn’t confusion; it’s the honest residue left when you refuse to oversimplify.
The subtext is a rebuke to story as propaganda, whether that’s political mythmaking, true-crime certainty, or the algorithmic demand for clean takes. Turow’s own genre context matters: legal fiction is a laboratory for how narratives manufacture truth. In a trial, the most persuasive story can win even when reality stays unresolved. By defending complexity, he’s also defending the reader’s maturity, asking us to tolerate doubt without treating it as failure. Narrative, at its best, doesn’t deliver answers. It trains a skeptical empathy: the ability to hold multiple plausible versions of a life in the mind at once.
Quote Details
| Topic | Writing |
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