This is a short piece on literary literacy, in the form of a choose-your-own-adventure story. -/- The entire piece is spread across all three volumes: Volume 1 Chapter 12, Volume 2 Chapter 5, and Volume 3 Chapter 22.

It is widely agreed that fiction is necessarily incomplete, but some recent work postulates the existence of universal fictions—stories according to which everything is true. Building such a story is supposedly straightforward: authors can either assert that everything is true in their story, define a complement function that does the assertoric work for them, or, most compellingly, write a story combining a contradiction with the principle of explosion. The case for universal fictions thus turns on the intuitive priority we assign (...) to the law of non-contradiction. My goal in this paper is to show that our critical and reflective literary practices set constraints on story-telling which preclude universal fictions. I will raise four stumbling blocks for universal fictionalists: the gap between saying and making true, our actual interpretive reactions to story-level contradictions, the criteria we accept for what counts as a story in our literary practices, and the undesirability of the universal fictionalist’s closure principles. (shrink)

Recently, Xhignesse has argued that the principle of poetic licence, which roughly states that any class of propositions is true in some possible fiction, ought to be rejected. Here, we defend PPL from Xhignesse’s objection by demonstrating that, properly understood, his purported counter-example case is either irrelevant or unproblematic. The upshot is that Xhignesse has given us no reason to reject PPL.

Abstract Impossible fictions have lessons to teach us about linguistic representation, about mental content and concepts, and about uses of conceivability in epistemology. An adequate theory of impossible fictions may require theories of meaning that can distinguish between different impossibilities; a theory of conceptual truth that allows us to make useful sense of a variety of conceptual falsehoods; and a theory of our understanding of necessity and possibility that permits impossibilities to be conceived. After discussing these questions, strategies for resisting (...) the picture of impossible fictions presented here and in Part I are discussed. Perhaps apparently impossible fictions describe possibilities after all; or perhaps impossible fictions are all trivial; or perhaps some apparently intelligible impossible fictions are unintelligible after all. (shrink)

It is widely agreed that more is true in a work of fiction than explicitly said. In addition to directly stipulated fictional content (explicit truth), inference and background assumptions give us implicit truths. However, this taxonomy of fictional truths overlooks an important class of fictional truth: those generated by literary formal features. Fictional works generate fictional content by both semantic and formal means, and content arising from formal features such as italics or font size are neither explicit nor implicit: not (...) explicit since formal features don’t say anything; and not implicit since content generated from formal features doesn’t rely on other truths or background assumptions. In addition to showing that our current classification is incomplete, the new class of fictional truths provides four further upshots for definitions of fictional truth, story and work identity conditions, and the relationship between literary interpretation and fictional truth. (shrink)

In this paper, I investigate how far we can use stories to learn about logic. How can we engage with fiction in order to come to find out what logical principles are actually valid? Is that possible at all? I claim that it is, and I propose two case studies to make the point.

I defend the idea that there are universal fictions, and that the Routley-Deutsch-Kapsner way of generating them – namely, with a story including deliberately and explicitly the proposition Everything is true – is still the best one. I reconstruct Wildman and Folde’s Finean criticisms to universal fictions a la Routley-Deutsch-Kapsner based on the idea that the universal quantifier in such fictions may not target the intended range of quantification, that is, all propositions. I show that Wildman and Folde’s argument does (...) not succeed, for they fail to show that every universal sentence has to be understood as involving a restricted quantifier. (shrink)

The paper surveys recent appraisals of David Lewis’s seminal paper on truth in fiction. It examines variations on standard criticisms of Lewis’s account, aiming to show that, if developed as Lewis suggests in his 1983 Postscript A, his proposals on the topic are—as Hanley puts it—‘as good as it gets’. Thus elaborated, Lewis’s account can resist the objections, and it offers a better picture of fictional discourse than recent resurrections of other classic works of the 1970s by Kripke, van Inwagen (...) and Searle. The turn that Lewis suggests and the paper recommends draws on the remaining outstanding contribution from that time: Walton’s. (shrink)

It is acknowledged by proponents of the Artifactual Theory of Fiction that literary works sometimes involve real or immigrant characters. However, their conception of cross-fictional identity faces serious difficulties. In this paper, we set the problem in the context of a modal framework, in relation to quantification across a plurality of possible worlds. Quantification is explained in terms of Hintikka’s notion of world lines; i.e. the possible values of bound variables are individuals that are not reduced to their manifestations. We (...) finally offer another understanding of identity across weakly impermeable domains, in a way compatible with the Artifactual Theory of Fiction. (shrink)

Though the social world is real and objective, the way that social facts arise out of other facts is in an important way shaped by human thought, talk and behaviour. Building on recent work in social ontology, I describe a mechanism whereby this distinctive malleability of social facts, combined with the possibility of basic human error, makes it possible for a consistent physical reality to ground an inconsistent social reality. I explore various ways of resisting the prima facie case for (...) social inconsistency. I conclude, however, that the prima facie case survives scrutiny, and draw out some of the ramifications. (shrink)

A critical reflection on John Woods's new monograph, Truth in Fiction – Rethinking its Logic. I focus in particular on Woods’s world-inheritance thesis (what others have variously called ‘background,’ ‘the principle of minimal departure,’ and ‘the reality assumption,’ and which replaces Woods’s earlier ‘fill-conditions’) and its interplay with auctorial say-so, arguing that world-inheritance actually constrains auctorial say-so in ways Woods has not anticipated.