A Quote by Friedrich Nietzsche

The so-called paradoxes of an author, to which a reader takes exception, often exist not in the author's book at all, but rather in the reader's head. — © Friedrich Nietzsche
The so-called paradoxes of an author, to which a reader takes exception, often exist not in the author's book at all, but rather in the reader's head.
To say that an author is a reader or a reader an author, to see a book as a human being or a human being a book, to describe the world as text or a text as the world, are ways of naming the readers craft.
Why do you keep reading a book? Usually to find out what happens. Why do you give up and stop reading it? There may be lots of reasons. But often the answer is you don't care what happens. So what makes the difference between caring and not caring? The author's cruelty. And the reader's sympathy...it takes a mean author to write a good story.
You imagine a reader and try to keep the reader interested. That's storytelling. You also hope to reward the reader with a sense of a completed design, that somebody is in charge, and that while life is pointless, the book isn't pointless. The author knows where he is going. That's form.
We must be forewarned that only rarely does a text easily lend itself to the reader's curiosity... the reading of a text is a transaction between the reader and the text, which mediates the encounter between the reader and writer. It is a composition between the reader and the writer in which the reader "rewrites" the text making a determined effort not to betray the author's spirit.
If you're doing a good job as author, then you get the reader to engage in whatever speculation might be called for. And it's much more meaningful for the reader, if he or she comes up with the questions.
A reader is doubly guilty of bad manners against an author when he praises his second book at the expense of his first (or vice versa) and then expects the author to be grateful for what he has done.
The way a book is read, which is to say, the qualities a reader brings to a book can have as much to do with its worth as anything the author puts into it.
Whether the author intended a symbolic resonance to exist in her book is irrelevant. All that matters is whether it's there. Because the book does not exist for the benefit of the author, the book exists for the benefit of YOU. If we as readers can have a bigger and richer experience with the world as a result of reading a symbol and that symbol wasn't intended by the author, WE STILL WIN.
Authors have a greater right than any copyright, though it is generally unacknowledged or disregarded. They have a right to the reader's civility. There are favorable hours for reading a book, as for writing it, and to these the author has a claim. Yet many people think that when they buy a book they buy with it the right to abuse the author.
The novel that an author writes is often not the novel that the reader reads, and most of the 'messages' in a novel are put there by the reader. There's nothing wrong with that, of course. That's how literature functions.
Spero Speroni explains admirably how an author who writes very clearly for himself is often obscure to his readers. "It is," he says, "because the author proceeds from the thought to the expression, and the reader from the expression to the thought.
An author is often obscure to the reader because they proceed from the thought to expression than like the reader from the expression to the thought.
Writing is transmogrifying, not just for the reader but also for the author; an author becomes someone he or she isn't by living the lives of his or her characters.
The author always knows more than the reader does at the start of a novel, and gradually, they share that knowledge with the reader - that's storytelling.
Once an author finishes a poem, he becomes merely another reader. I may remember what I intended to put into a text, but what matters is what a reader actually finds there which is usually something both more and less than the poet planned.
A book exists at the intersection of the author's subconscious and the reader's response.
This site uses cookies to ensure you get the best experience. More info...
Got it!