Qualifications of the Truth

The road to reach the promised ending, and the challenges we face along the way.

#07threads

History in a true sense cannot be described perfectly. Even if you admit the most infinitesimal units required for observation and rational thought, the author cannot keep track of all the minute, multitudinous interactions of human motivation, or make them sensible.

Fiction, on the other hand, can be made in various ways to be truly reflective of reality, and can communicate complexities of history that cannot be corralled within the strictures of rational analysis. That's how the rokkenjima incident was communicated, as a fictional text.

Fictional narratives can challenge the subconscious in order to help the reader grasp a sense of historical cause and effect that is often too subtle for reason. In real life there are no guarantees, no rewards, no coherence, having a fictional hope is better than no hope at all

Suppose, however, the novelist has worked out a design for the story he wishes to tell, is so set upon carrying out the design that he refuses to accommodate his plans to the promptings of the reader’s imagination? the novel will be forced to carry out a thematic objective -

- At the expense of challenging the reader’s predetermined values of how a story should go, which brings us to the questions of literary influence. To what extent should we adapt and heed the promptings of our own imagination, and when should we let go of them?

The author is aware of this potential peril exclusive to fictional writing, therefore he prepared challenges in a way to induce an inner struggle, in order to discover one’s own appropriate voice in terms of the perceived subject matter, and its language.

In other words, the author has to reshape the accepted formal architecture of fiction itself, not only to articulate their thoughts about what they were experiencing, but to develop the reader and help them get inside the author’s mind and mental processes.

Therefore, indicating the way in which the author himself apprehended that experience. Just like in Ulysses when the author developed technique for imitating the flow of consciousness itself.
Unless you truly understand the process, you cannot reach the author's mind.

By making the main characters into authors, there is hope for some awareness on the reader’s part of the presence of an authorial storyteller manipulating all the characters in a way that subverts preconceived critical assumptions and reader background.

A big portion of Umineko (As a whole) was a conglomerate of an author’s efforts to adapt the novelistic form of another author to suit his storytelling requirements and make it his own, therefore giving every part of the earlier story beats shape and meaning.

The ending was prepared a long long time ago, but the author took extra efforts to help the reader understand why was their recollection of the events so powerful to hold over our adult way of looking at ourselves and the world.

Through careful preparation and writing, we are finally able to fathom how we perceived the text in the way we did, and we were moved to recreate their impact upon ourselves as it had taken place at that time, therefore finally becoming qualified of reaching the ending & truth.