Gwen Tuinman

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literature

Growing Empathy Through Historical Fiction

In the summer of 1975, I was a shy, awkward girl obsessed with the Little House on the Prairie series by Laura Ingalls Wilder. I couldn’t get enough of her stories about 19-th century settler life.

Her books were my gateway into historical fiction.

Wilder’s writing opened my eyes to the hardships that people experienced on the frontier. She introduced me to homesteading women who faced life-and-death struggles and who diligently, with resourcefulness and hope, safeguarded their families.

She also showed me examples of quiet strength, resilience, self-advocacy, inquisitiveness and how individuality and community can co-exist. She immersed me in her characters’ world and made me care about them.

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Truth in Life Versus Truth in Art and Writing

In Aspects of the Novel, developed from a series of his 1927 Trinity College lectures, E.M. Forster shared an excerpt of work by author André Gide. The passage examines “the old thesis of truth in life versus truth in art.” Upon first reading this phrase, I thought brilliant idea—then doubled back for another pass and sunk into it like a warm bath. Truth in life versus truth in art.

The title of this piece you’re reading could easily be renamed Plato Versus Aristotle. The former believed artists create a mere imitation of life that distracts from truth. Aristotle took a view friendlier to creatives. “The aim of art is to represent not the outward appearances of things, but their inward significance.” The manner in which artists depict an object, projects their “inward” experience of the world—#speakyourtruth.

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