We can thereby allow ourselves to be absorbed in the activities around us until these irrationalities vanish on their own accord. Tolkien says that, in order for the narrative to work, the reader must believe that what he reads is true within the secondary reality of the fictional world. Not all authors believe that suspension of the disbelief adequately characterizes the audience's relationship to imaginative works of art. For instance, audience members would cry out, "Look behind you! Alexander Pope , notably, felt the need to explain and justify his use of elemental spirits in The Rape of the Lock , one of the few English poems of the century that invoked the supernatural. One need not choose to believe that a character in a horror film is a real person in order, for example, to choose to believe that the character is looking at the building seen in the following reverse-shot. We have, in Coleridge's second, more accurate phrase, "poetic faith". It was agreed, that my endeavours should be directed to persons and characters supernatural, or at least romantic, yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which constitutes poetic faith. Tolkien challenges this concept in his essay " On Fairy-Stories ", choosing instead the paradigm of secondary belief based on inner consistency of reality. That's why humans have such trouble recognizing lies: The concept of "willing suspension of disbelief" explained how a modern, enlightened audience might continue to enjoy such types of story. From that point the spell is broken, and the reader ceases to be immersed in the story and must make a conscious effort to suspend disbelief or else give up on it entirely.
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