Booth also spent several chapters which include numerous references to and citations from widely recognized works of fiction describing the various effects that implied authors achieve along the various lines of interest that he identifies, and the pitfalls they fall into, depending upon whether the implied author provides commentary, and upon the degree to which a story's narrator is reliable or unreliable, personal or impersonal.
22.
In particular, all aspects of the text can be attributed to the design of the implied author-- everything can be read as having meaning-- even if the real author was simply " nodding " or a textual element was " unintentional . " A story's apparent theme or implications ( as evidenced within the text ) can be attributed to the implied author even if disavowed by the flesh and blood author ( FBA ).
23.
In particular, all aspects of the text can be attributed to the design of the implied author-- everything can be read as having meaning-- even if the real author was simply " nodding " or a textual element was " unintentional . " A story's apparent theme or implications ( as evidenced within the text ) can be attributed to the implied author even if disavowed by the flesh and blood author ( FBA ).
24.
For example, while " real " author J . K . Rowling has expressed solidarity with the LGBT community, the implied author of Fantastic Beasts and Where to Find Them has been be said to convey no such solidarity, since " the only person that Rowling has ever written as definitively queer in her text is portrayed as pedophilic and manipulative and also a fascist " ( Taylor Follett . " Fantastic Beasts : Amazing Writing and Terrible Representation " Daily Californian, Nov . 28th, 2016 ).
25.
In the 1983 edition of " The Rhetoric of Fiction ", which included a lengthy addendum to the original 1961 edition, Booth outlined various identities taken on by both authors and readers : The Flesh-and Blood Author, the Implied Author, the Teller of This Tale, the Career Author, and the " Public Myth "; and, the Flesh-and-Blood Re-Creator of Many Stories, the Postulated Reader, the Credulous Listener, the Career Reader, and the Public Myth about the " Reading Public ."
26.
Booth argued not only that it does not matter whether an author as distinct from the narrator intrudes directly in a work, since readers will always infer the existence of an author behind any text they encounter, but also that readers always draw conclusions about the beliefs and judgments ( and also, conclusions about the skills and " success " ) of a text's implied author, along the text's various lines of interest : However impersonal he may try to be, his readers will inevitably construct a picture of the official scribe who writes in this manner-- and of course that official scribe will never be neutral toward all values.
27.
Seymour Chatman, in his book " Coming to Terms ", posits that the act of reading is " ultimately an exchange between real human beings [ that ] entails two intermediate constructs : one in the text, which invents it upon each reading ( the implied author ), and one outside the text, which construes it upon each reading ( the implied reader ) . " Because the reader cannot engage in dialogue with the implied author to clarify the meaning or emphasis of a text, Chatman says, the concept of the implied author prevents the reader from assuming that the text represents direct access to the real author or the fictional speaker.
28.
Seymour Chatman, in his book " Coming to Terms ", posits that the act of reading is " ultimately an exchange between real human beings [ that ] entails two intermediate constructs : one in the text, which invents it upon each reading ( the implied author ), and one outside the text, which construes it upon each reading ( the implied reader ) . " Because the reader cannot engage in dialogue with the implied author to clarify the meaning or emphasis of a text, Chatman says, the concept of the implied author prevents the reader from assuming that the text represents direct access to the real author or the fictional speaker.
29.
Seymour Chatman, in his book " Coming to Terms ", posits that the act of reading is " ultimately an exchange between real human beings [ that ] entails two intermediate constructs : one in the text, which invents it upon each reading ( the implied author ), and one outside the text, which construes it upon each reading ( the implied reader ) . " Because the reader cannot engage in dialogue with the implied author to clarify the meaning or emphasis of a text, Chatman says, the concept of the implied author prevents the reader from assuming that the text represents direct access to the real author or the fictional speaker.
30.
Starting from the premise that the human mind has evolved in an adaptive relation to its environment, literary Darwinists undertake to characterize the phenomenal qualities of a literary work ( tone, style, theme, and formal organization ), locate the work in a cultural context, explain that cultural context as a particular organization of the elements of human nature within a specific set of environmental conditions ( including cultural traditions ), identify an implied author and an implied reader, examine the responses of actual readers ( for instance, other literary critics ), describe the socio-cultural, political, and psychological functions the work fulfills, locate those functions in relation to the evolved needs of human nature, and link the work comparatively with other artistic works, using a taxonomy of themes, formal elements, affective elements, and functions derived from a comprehensive model of human nature.
