There are, however, at least two varieties of imagination in the readers case. So let us see which one of the two is the right one to use in reading a book. First, there is the comparatively lowly kind which turns for support to the simple emotions and is of a definitely personal nature. (There are various subvarieties here, in this first section of emotional reading. A situation in a book is intensely felt because it reminds us of something that happened to us or to someone we know or knew. Or, again, a reader treasures a book mainly because it evokes a country, a landscape, a mode of living which he nostalgically recalls as part of his own past. Or, and this is the worst thing a reader can do, he identifies himself with a character in the book. This lowly variety is not the kind of imagination I would like readers to use.
Writers, are, readers : Flipping reading Instruction into
(48) Capote had exposed himself to the emotions and. We have no physical organ (as we have the eye in regard to a painting) that takes in the whole picture and then can enjoy its details. But at a second, or mark third, or fourth reading we do, in a sense, behave towards a book as we do towards a painting. However, let us not confuse the physical eye, help that monstrous masterpiece of evolution, with the mind, an even more monstrous achievement. A book, no matter what it is—a work of fiction or a work of science (the boundary line between the two is not as clear as is generally believed)—a book of fiction appeals first of all to the mind. The mind, the brain, the top of the tingling spine, is, or should be, the only instrument used upon a book. Now, this being so, we should ponder the question how does the mind work when the sullen reader is confronted by the sunny book. First, the sullen mood melts away, and for better or worse the reader enters into the spirit of the game. The effort to begin a book, especially if it is praised by people whom the young reader secretly deems to be too old-fashioned or too serious, this effort is often difficult to make; but once it is made, rewards are various and abundant. Since the master artist used his imagination in creating his book, it is natural and fair that the consumer of a book should use his imagination too.
In reading a book, we must have time to acquaint ourselves with. words, the term Paper on In Cold Blood Capote reader book. Meaningful to the reader. Garson furthered his thoughts about In Cold Blood by writing Mingling realism with novelistic spondylolisthesis imagination, capote gives. minded aesthetic excuse for reading about a mean, sordid crime. (160) " This means that Capote provided people with an artistic. Became their intimate friend, showed them the manuscript of the book.
Incidentally, i use the word reader very loosely. Curiously enough, one cannot read a book: one can only reread. A good reader, a major reader, an active and creative reader is a rereader. And I shall tell you why. When we read a book for the first time the very process of laboriously moving our eyes from left to right, line after line, page after page, this complicated physical work upon the book, the very process of learning in terms of space and time. When we look at a painting we do not have to move our eyes in a special way even if, as in a book, the picture contains elements of depth and development. The element of time does not really enter in a first contact with a painting.
Sandwalk: good Science Writers: Stephen jay gould
Select four answers to the question what should a reader be to be a good reader:. The reader should belong to a book club. The reader should identify himself or herself with the hero or heroine. The reader should concentrate on the social-economic angle. The reader should prefer a story with action and dialogue to one with none. The reader should have seen the book in a movie.
The reader should be a budding author. The reader should have imagination. The reader should have memory. The reader should have a dictionary. The reader should have some artistic sense. The students leaned heavily on emotional identification, action, and the social-economic or historical angle. Of course, as you have guessed, the good reader is one who has imagination, memory, a dictionary, and some artistic sensewhich words sense i propose to develop in myself and in others whenever evaluation I have the chance.
Of themselves having conversation with the author. The marking of the books help the readers. Marking up the book to help remember the thought. Of the reader and author. The physical act.
That lake between those trees will be called lake opal or, more artistically, dishwater lake. That mist is a mountain—and that mountain must be conquered. Up a trackless slope climbs the master artist, and at the top, on a windy ridge, whom do you think he meets? The panting and happy reader, and there they spontaneously embrace and are linked forever if the book lasts forever. One evening at a remote provincial college through which I happened to be jogging on a protracted lecture tour, i suggested a little quiz—ten definitions of a reader, and from these ten the students had to choose four definitions that would combine to make. I have mislaid the list, but as far as I remember the definitions went something like this.
Goodreads for, readers and, writers
The material of this world may be real enough (as far as reality goes) but does not exist at all as an accepted entirety: it is ions chaos, and to this chaos the author says go! allowing the world to flicker and to fuse. It is now recombined in its very atoms, not merely in its visible and superficial parts. The writer is the first man to mop it and to form the natural objects it contains. Those berries there are edible. That speckled creature that bolted across my path might be tamed. 1 page, 450 words. The Essay on readers Can Write book books Author.
Simply by listing their credentials in Finney's. Commentaries, one can assume that they are respectable. Most of the authors. Can we expect to glean information about places and times from a novel? Can anybody be so naive as to think he or she can learn anything about the past from those buxom best-sellers that are hawked around by book clubs under the heading of historical novels? The truth is that great novels are great fairy tales—and the novels in this series are supreme fairy tales. To minor authors is left the ornamentation of the commonplace: these do not bother about any reinventing of the world; they merely try to squeeze the best they can out of a given order of things, out of traditional patterns of fiction. The art of writing is a very futile business if it wilson does not imply first of all the art of seeing the world as the potentiality of fiction.
of writing is a very futile business if it does not imply first of all the art of seeing the world as the potentiality of fiction. The material of this world may be real enough (as far as reality goes) but does not exist at all as an accepted entirety: it is chaos, and to this chaos the author says "go!". Words, good readers and good Writers (from Lectures on Literature) Vladimir Nabokov (originally delivered in 1948) my course, among other things, is a kind of detective investigation of the mystery of literary structures. How to be a good reader or Kindness to authors—something of that sort might serve to provide a subtitle for these various discussions of various authors, for my plan is to deal lovingly, in loving and lingering detail, with several European Masterpieces. A hundred years ago, flaubert in a letter to his mistress made the following remark: Commelon serait savant si lon connaissait bien seulement cinq a six livres: What a scholar one might be if one knew well only some half a dozen books. Another question: 2 pages, 948 words, origins of World War ii book review. Those that have become familiar with the history of World War ii, this book will provide at least some information that was. The credibility of the writers involved in this book appeared to be very good.
Can anybody be so naive as to think he or she can learn anything about the past from those buxom best-sellers that are hawked around by book clubs under the heading of historical novels? But what about the masterpieces? Can we rely on Jane austens picture of landowning England with baronets and landscaped grounds write when all she knew was a clergymans parlor? And Bleak house, that fantastic romance within a fantastic London, can we call it a study of London a hundred years ago? And the same holds for other such novels in this series. The truth is that great novels are great fairy tales — and the novels in this series are supreme fairy tales. Time and space, the colors of the seasons, the movements of muscles and minds, all these are for writers of genius (as far as we can guess and I trust we guess right) not traditional notions which may be borrowed from the circulating library. To minor authors is left the ornamentation of the commonplace: these do not bother about any reinventing of the world; they merely try to squeeze the best they can out of a given order of things, out of traditional patterns of fiction. The various combinations these minor authors are able to produce within these set limits may be quite amusing in a mild ephemeral way because minor readers like to recognize their own ideas in a pleasing disguise.
The secrets of Story Structure
"How to be a good reader" or "Kindness to authors" — something of that sort might serve to provide a subtitle for these various discussions of various authors, for my plan is to deal lovingly, in loving and lingering detail, with several European Masterpieces. A hundred years ago, flaubert in a letter to his mistress made the following remark: Commel'on serait savant si lon connaissait bien seulement cinq a six livres: "What a scholar one might be if one knew well only some half a dozen books.". In reading, one should notice and fondle details. There is nothing wrong about the moonshine of generalization when it comes after the sunny trifles of the book have been lovingly collected. If one begins with a readymade generalization, one begins at the wrong end and travels away from the book before one has started to understand. Nothing is more boring or more unfair to the author than starting to read, say, madame bovary, with the preconceived notion that it is a denunciation of the bourgeoisie. We should always remember that the work of art is invariably the creation of a new world, so that the first thing we the should do is to study that new world as closely as possible, approaching it as something brand new, having no obvious connection. When this new world has been closely studied, then and only then let us examine its links with other worlds, other branches of knowledge. Another question: Can we expect to glean information about places and times from a novel?