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It was both odd and unjust, a real example of pitiful arbitrariness of existance, that you were born into a particular time & held prisoner there whether you wanted it or not. It gave you an indecent advantage over the past and made you a clown vis-a-vis the future.
Daniel Kehlmann -
People who have experienced nothing love to tell stories while people who have experienced a great deal suddenly have no stories to tell at all.
Daniel Kehlmann
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When I look at life I try to be as agnostic and unmetaphysical as possible. So I have to admit that, most probably, we do not have a fate. But I think that's something that draws us to novels - that the characters always have a fate. Even if it's a terrible fate, at least they have one.
Daniel Kehlmann -
I wanted to write a book that would leave open many riddles and mysteries, even to me. Of course in some cases I do know the answers, but in many others I don't know and don't want to know.
Daniel Kehlmann -
A neglect of one's sentimental education early in life could bear the most unfortunate fruit.
Daniel Kehlmann -
When I write a book I'm always questioning the project as a whole. I always feel I might have to just throw it away and forget about it, and I've done that with novels I've started and worked on for a long time. It's an option I need in order to write freely.
Daniel Kehlmann -
So the fact that there's someone who's planning what happens to the characters, writing it down, means that the characters always have a fate. And when we think about fate, we tend think of it as the thing we would have if we were literary characters, that is, if there were somebody out there, writing us.
Daniel Kehlmann -
I really just wanted to write about three brothers. When you do that, though, it gives you this wonderful opportunity to tie together different social milieus, because siblings usually move into different worlds as they grow up.
Daniel Kehlmann
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Usually the German translators do something terrible, especially with Tom Wolfe, which is that they make it local. So if the characters are from Harlem, the translators put all this Berlin slang into their mouths, and that's just terrible. You cringe when you read that. But there really is no good solution to the problem, except learning English.
Daniel Kehlmann -
English is much drier. You can get away with a lot less. Pathos, lyricism, these are things you have to tone down if you want the English version of the book to work.
Daniel Kehlmann