A Quote by Milan Kundera
This symmetrical composition--the same motif at the beginning and at the end--may seem quite "novelistic" to you, and I am willing to agree, but only on condition that you refrain from reading such notions as "fictive," "fabricated," and "untrue to life" into the word "novelistic." Because human lives are composed in precisely such a fashion.
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Most of us don't live lives that lend themselves to novelistic expression, because our lives are so fragmented.
Most of us dont live lives that lend themselves to novelistic expression, because our lives are so fragmented.
I've come to regard the superior end of HBO drama as, above all, novelistic.
The charge of being ambiguous and indefinite may be brought against every human composition, and necessarily arises from the imperfection of language. Perhaps no two men will express the same sentiment in the same manner and by the same words; neither do they connect precisely the same ideas with the same words.
While people are fairly young and the musical composition of their lives is still in its opening bars, they can go about writing it together and sharing motifs (the way Tomas and Sabina exchanged the motif of the bowler hat), but if they meet when they are older, like Franz and Sabina, their musical compositions are more or less complete, and every motif, every object, every word means something different to each of them.
'How does your life turn out?' That's the ultimate novelistic question to me.
Hospitalizations in general are blurry. The days are the same, precisely the same. Nothing changes. Life melts down to a simple progression of meals. They become a way of life fairly quickly. You may welcome this transition. It may seem inevitable to you. You have been removed from the world. It is all right, in a way, because there is nothing so sure, so safe, as routine.
Twitter is almost novelistic.
I usually see the word "metafiction" applied to works that draw attention to their own devices, their own artificiality, in order to mock novelistic convention and show the impossibility of capturing a reality external to the text or whatever.
I am reading six books at once, the only way of reading; since, as you will agree, one book is only a single unaccompanied note, and to get the full sound, one needs ten others at the same time.
Joy is what makes life worth living, but for many joy seems hard to find. They complain that their lives are sorrowful and depressing. What then brings the joy we so much desire? Are some people just lucky, while others have run out of luck? Strange as it may sound, we can choose joy. Two people can be part of the same event, but one may choose to live it quite differently than the other. One may choose to trust that what happened, painful as it may be, holds a promise. The other may choose despair and be destroyed by it. What makes us human is precisely this freedom of choice.
The world is round and the place which may seem like the end may also be only the beginning.
Man no longer lives in the beginning--he has lost the beginning. Now he finds he is in the middle, knowing neither the end nor the beginning, and yet knowing that he is in the middle, coming from the beginning and going towards the end. He sees that his life is determined by these two facets, of which he knows only that he does not know them
Faction is that hybrid of documented fact and novelistic elaboration.
Often the children of God cannot rise up to answer the Lord's call to service simply because, though their physical condition is good, their feelings are low, cold, and reluctant. Or even when their emotions are quite high, passionate, and willing, they find themselves unable to serve the Lord because now the body reacts lazily. The disciples found themselves in precisely that situation in the Garden of Gethsemane: "the spirit indeed is willing, but the flesh is weak"
Historians and journalists always have agendas, but if I want to find out what's going on in South Africa, I read Nadine Gordimer or John Coetzee because they offer novelistic truth.
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