The Naive and the Sentimental Novelist: Understanding What by Orhan Pamuk

By Orhan Pamuk

What occurs inside us once we learn a unique? and the way does a singular create its distinctive results, so certain from these of a portray, a movie, or a poem? during this encouraged, considerate, deeply own publication, Turkey's Nobel Prize winner explores the paintings of writing, and takes us into the worlds of the reader and the author, revealing their intimate connections. Pamuk attracts on Friedrich Schiller's well-known contrast among "naive" poets-who write spontaneously, serenely, unselfconsciously - and "sentimental" poets: those who find themselves reflective, emotional, wondering, and alive to the artifice of the written observe. reminiscent of his interpreting of the loved novels of his adolescence and varying during the paintings of such writers as Tolstoy, Dostoevsky, Stendhal, Flaubert, Proust, Mann, and Naipaul, he explores the oscillation among the naive and the reflective, and the hunt for an equilibrium, that lie on the heart the novelist's craft. Orhan Pamuk ponders the novel's visible and sensual power-its skill to conjure landscapes so brilliant they could make the here-and-now fade away. during this exploration, he delves into the secrets and techniques of analyzing and writing, and considers the weather of personality, plot, time and surroundings that compose the "sweet phantasm" of the fictitious global. Like Umberto Eco's Six Walks within the Fictional Woods and Milan Kundera's The paintings of the unconventional, this can be a perceptive publication via one of many smooth masters of the artwork, a name someone who has recognized the excitement of turning into immersed in a unique will take pleasure in, and examine from.

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Once again, l would like to emphasize what a wonderful thing this power is. And once again, l would like to stress that while it is perhaps temporarily possible to forget the presence of the novelist while reading a novel, we can never achieve this in a sustained way, because we are always comparing the sensory details of the narrative with our own life experience, and depicting them in our mind through that knowledge. One of the essential pleasures we find in reading novels-just as Anna Karenina does when reading on the train-is that of comparing our life with the lives of others.

The impact a novel has on its readers is partly formed, as weIl, by what critics say about it in newspapers and magazines and by the writer's own statements aimed at controlling and manipulating the way it is received, read, and enjoyed. In the three hundred years since Defoe, wherever the art of the novel has taken root, it has supplanted other literary genres, beginning with poetry. And it has rap- Mr. Pomuk, Did Ail This Reolly Hoppen To You? we agree on (or agree 37 disagree on). IL .........................

Back then, it was proudly asserted that Turkey produced more films per year than any other country in the world except the United States and India. In those Mr. Pomuk, Did Ail This Really Hoppen To Vou? """''''''-J hero of a repre- himself, or sorne other actual person, unquestioningly on the silver screen represented the Türkan Türkan $oray reallife-and fascinated by the differences between thern, they would try to rnake out which details were true and which were imagined. Whenever l read In Search of Lost Time, which describes the world of a man not unlike Proust, l too am curious to know which details and episodes the author actually lived, and to what extent.

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