Why Do We Read Fiction? Why do we read fiction? The answer is simple. We read it because we like it. And we like it because fiction, as an image of life, stimulates and gratifies our interest inlife. But whatever interests may be appealed to by fiction, the special and immediate interest that takes us to fiction is always our interest in a story.

A story is not merely an image of life, but of life in motion--specifically, the presentation of individual characters moving through their particular experiences to some end that we may accept as meaningful. And the experience that is characteristically presented in a story is that of facing a problem, a conflict. To put it bluntly: no conflict, no story.

It is no wonder that conflict should be at the center of fiction, for conflict is at the center of life. But why should we, who have the constant and often painful experience of conflict in life and who yearn for inner peace and harmonious relation with the outer world, turn to fiction, which is the image of conflict? The fact is that our attitude toward conflict is ambivalent. If we do find a totally satisfactory adjustment in life, we tend to sink into the drowse of the accustomed. Only when our surroundings--or we ourselves--become problematic again do we wake up and feel that surge of energy which is life. And life more abundantly lived is what we seek.

So we, at the same time that we yearn for peace, yearn for the problematic. The adventurer, the sportsman, the gambler, the child playing hide-and-seek, the teen-age boys choosing up sides for a game of sandlot baseball, the old grad cheering in the stadium--we all, in fact, seek out or create problematic situations of greater or lesser intensity. Such situations give us a sense of heightened energy, of life. And fiction, too, gives us that heightened awareness of life, with all the fresh, uninhibited opportunity to vent the rich emotional charge--tears, laughter, tenderness, sympathy, hate, love, and irony--that is stored up in us and short-circuited in the drowse of the accustomed. Furthermore, this heightened awareness can be more fully relished now, because what in actuality would be the threat of the problematic is here tamed to mere imagination, and because some kind of resolution of the problem is, owing to the very nature of fiction, promised.

The story promises us a resolution, and we wait in suspense to learn how things will come out. We are in suspense, not only about what will happen, ubt even more about what the event will mean. We are in suspense about the story in fiction because we are in suspense about another story far closer and more important to us--the story of our own life as we live it. We do not know how that story of our own life is going to come out. We do not know what it will mean. so, in that deepest suspense of life, which will be shadowed in the suspense we feel about the story in fiction, we turn to fiction for some slight hint about the story in the life we live. The relation of our life to the fictional life is what, in a fundamental sense, takes us to fiction.

Even when we read, as we say, to "escape," we seek to escape not from life but to life, to a life more satisfying than our own drab version. Fiction gives us an image of life--sometimes of a life we actually have and like to dwell on, but often and poignantly of one we have had but do not have now, or one we have never had and can never have. The ardent fisherman, when his rheumatism keeps him housebound, reads stories from Field and Stream. The baseball fan reads You Know Me, Al, by Ring Lardner. The little coed, worrying about her snub nose and her low mark in Sociology 2, dreams of being a debutante out of F. Scott Fitzgerald; and the thin-chested freshman, still troubled by acne, dreams of being a granite-jawed Neanderthal out of Mickey Spillane. When the Parthians in 53 B.C. beat Crassus, they found in the baggage of Roman officers some very juicy items called Milesian Tales, by a certain Aristides of Miletus; and I have a friend who, in A. …