The debate over what’s true and what’s false in
literature is never ending, primarily due to the fact that all written works,
especially those considered of superior or lasting artistic merit is based on
some truth. Like that of a surreptitious military operation, the goal of
argumentative writing is to tactically persuade your audience that your ideas
are valid beyond the method by which you’ve chosen to relay your story. The
Greek philosopher Aristotle divided the means of persuasion, appeals, into three
distinct categories—Ethos, Pathos, Logos.
Examples of this are infinite—Leonardo di ser Piero da Vinci’s Codex Atlanticus, George Orwell’s 1984, Milton William Cooper’s Behold A Pale Horse, Jack Finney’s The Body Snatchers, David Seltzer’s The Omen, H.G. Wells The War of the Worlds, Thomas Michael Keneally’s Schindler’s Ark, William Peter Blatty’s The Exorcist, Richard Condon's The Manchurian Candidate, Robert Shea and Robert Anton Wilson’s The Illuminatus! Trilogy, Robert Ludlum's The Bourne Identity, Robert A. Heinlein's The Puppet Masters, Jules Gabriel Verne’s A Journey to the Center of the Earth, Erich von Däniken’s Chariots of the Gods, not to mention both the Writer’s Block Trilogy and the Conspirator’s Odyssey Series to which I’m taking the liberty of weighing in. However unquestionably interminable these examples may be, all remain but the tiniest of pebbles dropped haphazardly into a massive basin of still water.
Words I liken to keys, which unlock the incomprehensible doors of the matrix we were conceived. However, it is a choice the individual must make to read, to absorb, to beware, and to prepare. Don’t be misled and/or hindered by the industrial captions that arbitrarily label author’s work, i.e. fiction, non-fiction, etc. These labels are presented to authors and their readers by the publishing conglomerate as a means of categorizing, marketing, and covertly trivializing their contracted mules. They, in fact, have always been the sluice by which our agenda thrives.
Throughout time many creative minds have meticulously used the superlative dominance of literature to slowly awaken the masses to the covert doings of individuals of this world and beyond. It’s an art form stronger than you may think; for one cannot save a world nestled in a box, strategically dormant to the realities of their existence. By exposing the masses to narratives once thought to have been pulled from midair was actually meant to help soften the blow felt when the world’s dirty laundry could no longer be contained.
Examples of this are infinite—Leonardo di ser Piero da Vinci’s Codex Atlanticus, George Orwell’s 1984, Milton William Cooper’s Behold A Pale Horse, Jack Finney’s The Body Snatchers, David Seltzer’s The Omen, H.G. Wells The War of the Worlds, Thomas Michael Keneally’s Schindler’s Ark, William Peter Blatty’s The Exorcist, Richard Condon's The Manchurian Candidate, Robert Shea and Robert Anton Wilson’s The Illuminatus! Trilogy, Robert Ludlum's The Bourne Identity, Robert A. Heinlein's The Puppet Masters, Jules Gabriel Verne’s A Journey to the Center of the Earth, Erich von Däniken’s Chariots of the Gods, not to mention both the Writer’s Block Trilogy and the Conspirator’s Odyssey Series to which I’m taking the liberty of weighing in. However unquestionably interminable these examples may be, all remain but the tiniest of pebbles dropped haphazardly into a massive basin of still water.
Words I liken to keys, which unlock the incomprehensible doors of the matrix we were conceived. However, it is a choice the individual must make to read, to absorb, to beware, and to prepare. Don’t be misled and/or hindered by the industrial captions that arbitrarily label author’s work, i.e. fiction, non-fiction, etc. These labels are presented to authors and their readers by the publishing conglomerate as a means of categorizing, marketing, and covertly trivializing their contracted mules. They, in fact, have always been the sluice by which our agenda thrives.
Throughout time many creative minds have meticulously used the superlative dominance of literature to slowly awaken the masses to the covert doings of individuals of this world and beyond. It’s an art form stronger than you may think; for one cannot save a world nestled in a box, strategically dormant to the realities of their existence. By exposing the masses to narratives once thought to have been pulled from midair was actually meant to help soften the blow felt when the world’s dirty laundry could no longer be contained.
Pragmatic author A.K. Kuykendall has a passion for
writing conspiracy, espionage, horror, and suspense literature that blend the
concepts of fact and fiction. For more information on his projects, visit http://www.thewriterofbooks.com/list-of-works/ or, to email
the author directly for Q&A on this post, write to info@thewriterofbooks.com.
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