What is truth? There is the truth of the world i.e. what we acknowledge as facts, the truth of the writer in their work, or the truth that the writer has designated as true within the context of the fictional world they have created. Beyond these categories we approach the question of the existence of truth itself. What we as human beings can know of it when our truths are denoted by language we ourselves created to understand the world.
In writing the truth can be sacrificed for a stronger narrative, in the same way, the truth can be used to great effect to strengthen the narrative. The relative nature of the usefulness of truth depends entirely on the context of its inclusion. For example John Cheever’s stories seek to emulate life, to tell a story that may be fiction but is true insofar as it has realistic characters acting in realistic ways. To negate this truth in favour of, for example exaggerated emotion may damage the story creating an experience less realistic and therefore less powerful for the reader.
The truth even when included can be lost upon an audience who cannot find it buried beneath layers of subtly and metaphor. Thus truth can ultimately become subjective to the audiences’ interpretation of it, for as Nietzsche says: ‘There are no facts, only interpretations.’ This can be seen especially in the works of Emily Dickinson, being a poet she dresses up truths in metaphors that require interpretation on the part of the reader. Because she never defines what the truth of her poems are, the reader will never know with absolute certainty the truth behind her poems.