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Second, it’s potential to make valid claims in spite of starting from false or incoherent grounding positions. Many publish-structuralist-derived literary-critical claims concerning the unconscious operations of race, class, and gender, for instance, have been straightforwardly true of our actual world, whether or not their understanding of human nature is legitimate. There are plenty of different ideas that I may adduce from Carroll’s work and elsewhere which proceed this theme that writers and evolutionary-minded literary thinkers have lots of widespread ground. I could discuss life-history principle and the stories of Alice Munro, which frequently hint the selections her characters make over the course of lifetimes. I may talk about Geoffrey Miller’s fitness displays and the gaudy linguistic fireworks of David Foster Wallace—Miller’s principle needn’t apply equally to all artistic endeavors to have some validity. I may connect the work Lisa Zunshine is doing with Theory of Mind to the writer’s mantra to “show quite than telling” or the mild artwork of ending successfully, the subtle implication that much more elegant than the point hammered house. But I’d somewhat close by bringing things back to why literary critics normally, and thus Literary Darwinists particularly, ought to seek out the corporate of writers. Joseph Carroll’s overview of evolutionary literary criticism and theory is lucid, wide-ranging,
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