 By contrast, Kathleen Stock’s account of fiction allows that fictions may include propositions that are put forward simply because they are important truths, and so material that should be believed and not just imagined (e.g., the comments on slavery and Christianity in Beecher Stowe’s Uncle Tom’s Cabin (1851)). For Stock, such beliefs are not outliers, for she thinks that even if a person imagines something that she also believes, she will (be disposed to) conjoin this in thought with other propositions that she does not believe (Stock 2011; 2017, 147). Stock then defines a fiction as, roughly, as a collection of fictive utterances in Currie’s sense that are subject to the condition that where there is more than one fictive utterance present, the author must also intend the reader or hearer to imagine them conjunctively. A fictional work, she thinks, is different. It is something usually carefully constructed and usually either written down for posterity, or performed publicly. By contrast, a fiction may be uttered only once, in a brief conversation with a single interlocutor (Stock 2017: 169–74).