narration

I ran across an excerpt today (in English translation) of some dialogue/narration from the modern popular writer, Paulo Coelho in his book: Aleph.(Note: bracketed text is mine.)... 'I spoke to three scholars,' [the character says 'at last.'] ...two of them said that, after death, the [sic (misprint, fault of the publisher)] just go to Paradise. The third one, though, told me to consult some verses from the Koran. [end quote]' ...I can see that he's excited. [narrator]' ...Now I have many positive things to say about Coelho: He is respectable, inspiring as a man, a truth-seeker, and an appealing writer; but one should hesitate to call him a 'literary' writer based on this quote. A 'literary' author knows that a character's excitement should be 'shown' in his or her dialogue and not in the narrator's commentary on it. Advice for Coelho: Remove the 'I can see that he's excited' sentence and show his excitement in the phrasing of his quote.(Now, in defense of Coelho, I am firmly of the opinion, having myself written plenty of prose that is flawed, that a novelist should be forgiven for slipping here and there.)Lastly, it appears that a belief in reincarnation is of great interest to Mr. Coelho ... Just think! He is a man who has achieved, (as Leonard Cohen would call it), 'a remote human possibility.' He has won lots of fame and tons of money. And yet, how his preoccupation with reincarnation__one other than an interest in being born again as somebody else__uggests that he is not happy!

Gimmerton chapel bells were still ringing and the full, mellow flow of the beck in the valley came soothingly on the ear. It was a sweet substitute for the yet absent murmur of the summer foliage, which drowned that music about the Grange when the trees were in leaf.

We are all born as storytellers. Our inner voice tells the first story we ever hear.

It is the human habit to think in centuries from a grandparent to a grandchild because it just does take about a hundred years for things to cease to have the same meaning as they did before,

I think one is naturally impressed by anything having a beginning a middle and an ending when one is beginning writing and that it is a natural thing because when one is emerging from adolescence, which is really when one first begins writing one feels that one would not have been one emerging from adolescence if there had not been a beginning and a middle and an ending to anything.

This land has brought forth numerous children, favouring both the bad and the good ones. It is not the land that is responsible for the people__ hardships, it is the people themselves. Pg.8

I love my love with a b because she is peculiar.

This is the squalid, or moving, part of the story, and the scene changes. The people change, too. I'm still around, but from here on in, for reasons I'm not at liberty to disclose, I've disguised myself so cunningly that even the cleverest reader will fail to recognize me.

There are three types of actions: purposeful, habitual, and gratuitous. Characters, to be immediate and apprehensible, must be presented by all three.' Katin looked toward the front of the car. The captain gazed through the curving plate that lapped the roof. His yellow eyes fixed Her consumptive light that pulsed fire-spots in a giant cinder. The light was so weak he did not squint at all. I am confounded, Katin admitted to his jeweled box, 'nevertheless. The mirror of my observation turns and what first seemed gratuitous I see enough times to realize it is a habit. What I suspected as habit now seems part of a great design. While what I originally took as purpose explodes into gratuitousness. The mirror turns again, and the character I thought obsessed by purpose reveals his obsession is only habit; his habits are gratuitously meaningless; while those actions i construed as gratuitous now reveal a most demonic end.

A director's dream? No, Bollywood reality in 1995.Business is booming, but cliché's are passée. A different sort of breeze-fresh, young-is unsettling fatigued conventions.

You should author the narration of your life and organization. If you don't, someone will, and you may not like it.

The rules say that to tell a story you need first of all a measuring stick, a calendar, you have to calculate how much time has passed between you and the facts, the emotions to be narrated.

Dry your tears, woman, the boy will be found. Nobody can do him anything_ Gradually, the tears began to dry from Etusi__ eyes, thanks to Okokpujie__ words, a mighty force that swung the entire village to action. Pg.38

The starting point to freedom is to begin questioning the cultural narrative you have been sold.

Understand and challenge your personal narrative. Narratives become choices and actions _ which become your life.