The Naive and the Sentimental Novelist by Orhan Pamuk

By Orhan Pamuk

From the Nobel Prize-winning novelist, an encouraged, considerate, and deeply own publication approximately interpreting and writing novels.
 
In this attention-grabbing set of essays, in accordance with the talks he added at Harvard collage as a part of the prestigious Norton Lecture sequence, Pamuk offers a finished and provocative thought of the radical and the event of analyzing. Drawing on Friedrich Schiller’s well-known contrast among “naïve” writers—those who write spontaneously—and “sentimental” writers—those who're reflective and aware—Pamuk finds special methods of processing and composing the written note. he is taking us via his personal literary trip and the loved novels of his formative years to explain the singular event of studying. exact, nuanced, and passionate, this publication should be liked through readers and writers alike.

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By Orhan Pamuk

From the Nobel Prize-winning novelist, an encouraged, considerate, and deeply own publication approximately interpreting and writing novels.
 
In this attention-grabbing set of essays, in accordance with the talks he added at Harvard collage as a part of the prestigious Norton Lecture sequence, Pamuk offers a finished and provocative thought of the radical and the event of analyzing. Drawing on Friedrich Schiller’s well-known contrast among “naïve” writers—those who write spontaneously—and “sentimental” writers—those who're reflective and aware—Pamuk finds special methods of processing and composing the written note. he is taking us via his personal literary trip and the loved novels of his formative years to explain the singular event of studying. exact, nuanced, and passionate, this publication should be liked through readers and writers alike.

Show description

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Additional info for The Naive and the Sentimental Novelist

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My habits of secrecy and loneliness were too deeply in­ grained. I had become like my grandfather, who, in a rare moment of self-revelation, told me he was a "lone wolf"; the most unsociable of an unsocia- ble tribe. Though I've changed as I've grown older, I still sometimes wonder if one reason I write is because I am filled with all the words I never spoke as a child. 26 Two things opened up for me the narrow passage through which I finally escaped Gardenland for good. The first was books. I learned to read early and, once started, could not get enough of books.

At night, I could hear mice scampering across the cement floor, terrifying me when I woke up having to pee and pick my way through the darkness to the bathroom. 19 When we finally moved from the cinder-block house, it was to another, bigger version of that house rather than to the dream house of the blue­ print. One night, my mother's screaming woke me. I hurried into the bedroom she and my stepfather occupied and found him beating her. When I tried to stop him, he threw me across the room. The next morning my mother told me he was sorry, but it was too late.

Journal Entry Reflect on how you change your language on the basis of situation. What are some factors that influence the changes you make? Also consider your writing. Have you consciously thought about how different writing tasks call for different conventions? If so, how have the tasks you've performed and their associated writing conventions differed? FEATURES OF PERSONAL WRITING Good personal writing is like fiction—except the events are real. For example, both kinds of writing do far more than simply narrate events.

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