Best 29 quotes of Daniel Kehlmann on MyQuotes

Also, whenever you have direct speech, and I don't quite know why, but it always gets better in English. Dialogue, the flow of dialogue, English just has a better way with it.

A neglect of one's sentimental education early in life could bear the most unfortunate fruit.

English has a better way with colloquialisms. It has colloquialisms that are colorful and expressive but not too heavy or distracting. In German, if you use colloquialisms, it quickly descends into some kind of dialect literature.

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.

For a while I never show anybody what I'm writing, and during that time I need the feeling that publishing is only an option. I might publish this, I might not. I think if I had to publish it, I might panic.

German can take a lot more pathos than English can. When you say "pathetic" in English it's a disparaging term, but when you say "pathetisch" in German it's just a description, not necessarily negative. That says a lot already.

I'm trying to exploit the bestseller, in a way, but not in the sense of repeating the formula. It's just that the bestseller did so well economically that now I'm freer to do what I want to do, or to try out what I want to try out.

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.

I think I can work anywhere, but you don't get the same kind of inspiration everywhere. New York theater has become a big inspiration for me. I only started writing for the stage myself because I like to see the good, mostly off-Broadway plays in New York.

I think that's just what happens when you write a big bestseller. After that you need to find out: What's the best way to go on? And the worst thing you could do would be to try to repeat the formula. That would be suffocating.

It's also one of these strange points where metaphysics converges with economy. Because really what the experts are doing is creating value by banishing doubt. All great dead painters basically have this one person, this expert who has the metaphysical power to grant a seal of authenticity.

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.

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.

One of the points where the art world is at its most metaphysical is in this weird aspect of the power of the expert. There are experts who claim they cannot be fooled because they have an inner connection to an artist and can feel whether something is genuine or fake. I've heard experts say, on panels: When it comes to my period, or my painters, I cannot be fooled. And of course that's completely ridiculous.

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.

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.

Usually I work out the plot before I start. This time I thought: Writers always talk about not knowing where a book is going - -I want to experience that, too. What I found out is that it's very interesting, but it takes much longer because you have so many false starts. You take wrong turns and you have to go back and start the whole chapter, or the whole section, from scratch.

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.

We think in terms of fate even if we don't believe in it. Even something as trivial as missing the bus - we think: Well, it might be good for something. We always have that thought, no matter how critical we try to be. The idea that everything is always total chance - we're not made for that.

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.

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.

When you translate the American writers who are best with dialogue into German - someone like Elmore Leonard, or Tom Wolfe, who's also quite good with dialogue. It's very hard to translate them well.

You say fate is almost indispensable to literature - I think it's completely indispensable, at least in a novel, because a novel always has a plot. Even if nothing happens, even if someone just spends a day walking around Dublin, or whatever, there's still something going on.

Den Hunde, sagte Bonpland, habe er nie leiden können.

Die Liebe zu den Kindern - besser, man kämpft gegen sie an. Man kommt ja auch nicht einem Hund zu nahe; sogar wenn er freundlich aussieht, kann er zuschnappen. Stets muss man einen Abstand lassen zwischen sich und seinem Kind, sie sterben einfach zu schnell. Aber mit jedem Jahr, das vergeht, gewöhnt man sich mehr an so ein Wesen. Man fasst Zutrauen, man erlaubt sich, es teilzuhaben. Und plötzlich ist es weg.

Erzählen, das bedeutet einen Bogen spannen, wo zunächst keiner ist, den Entwicklungen Struktur und Folgerichtigkeit gerade dort verleihen, wo die Wirklichkeit nichts davon bietet.

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.

Links, sagte Humboldt. Wieso links, fragte Bonpland. Also rechts, sagte Humboldt. Aber warum rechts? Zum Teufel, rief Humboldt, jetzt werde es ihm zu blöd.

Nobody, said Humboldt, had a destiny. One simply decided to feign one until one came to believe in it oneself. But so many things didn't fit in with it, one had to really force oneself.