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The most uninteresting part of the biography of a composer is his childhood. All those preludes are the same and the reader hurries on to the fugue.
Either the translator leaves the author in peace, as much as is possible, and moves the reader towards him: or he leaves the reader in peace, as much as possible, and moves the author towards him.
My intention is not to replace one set of general rules by another such set: my intention is, rather, to convince the reader that all methodologies, even the most obvious ones, have their limits.
But I was, and still am, an avid reader and so when I first started I chose to photograph many of the great writers in this country to try and earn a living.
I've always been an avid reader. If I don't have a book in the car, I'll stop and pick one up just to have something to read. I don't even remember learning to read.
I want the reader to feel something is astonishing. Not the 'what happens,' but the way everything happens. These long short story fictions do that best, for me.
When the reader and one narrator know something the other narrator does not, the opportunities for suspense and plot development and the shifting of reader sympathies get really interesting.
While the spoken word can travel faster, you can't take it home in your hand. Only the written word can be absorbed wholly at the convenience of the reader.
I was a hugely unchaperoned reader, and I would wander into my local public library and there sat the world, waiting for me to look at it, to find out about it, to discover who I might be inside it.
I shall omit former particulars, and begin with informing the Reader, that, in 1792, I was strangely visited, by day and night, concerning what was coming upon the whole earth.
A story should be managed so that it should suggest interesting things to the reader instead of the author's doing all the thinking for him, and setting it before him in black and white.