आप फ्रेंच भाषा चाहे जितनी अच्छी तरह क्यों न जान लें, आपने इसे गलत तरीके से सीखा है, उस तरह से नहीं जैसे कोई मातृभाषा बोलने वाला सीखता है। यही समस्या मेरी भी है।
However well you know the French language you've learnt it the wrong way, not as a native speaker would. That's my problem as well.
However well you know the French language you've learnt it the wrong way, not as a native speaker would. That's my problem as well.
न्यूजीलैंड के ज्यादातर लोग विदेश यात्रा करना चाहते हैं। हम घूमने-फिरने के बहुत शौकीन हैं। यह कल्पना करना भी मुश्किल है कि कोई यहाँ से कभी बाहर ही न निकले, खासकर तब जबकि समय के साथ यात्रा करना और भी आसान और सस्ता हो गया है। जब मैंने पहली बार यात्रा की थी, तो समुद्र के रास्ते आने-जाने में हर बार साढ़े चार हफ्ते लगे थे।
Most New Zealanders want to travel overseas. We're a great travelling nation. It's hard to imagine simply not moving from here, especially as time went on and became cheaper and easier. When I first travelled it was four and a half weeks by sea each way.
Most New Zealanders want to travel overseas. We're a great travelling nation. It's hard to imagine simply not moving from here, especially as time went on and became cheaper and easier. When I first travelled it was four and a half weeks by sea each way.
मेरी साहित्यिक आलोचना अब उतनी विशेष रूप से अकादमिक नहीं रही। 'द न्यू पोएटिक' में मैं वास्तव में साहित्यिक इतिहास लिख रहा था, लेकिन साहित्यिक आलोचना लिखने का मेरा सामान्य तरीका लगभग वैसा ही है जैसा हमेशा से रहा है। और एक लेखक होने और आलोचना करने के बीच हमेशा से एक गहरा नाता रहा है—मुझे लगता है कि मैं अंदर से जानता हूँ कि एक लेखक को कैसा महसूस होता है और मैं कह सकता हूँ कि मैंने भी अंदर से वैसी ही समस्याओं और उनके समाधानों का अनुभव किया है। और मुझे लगता है कि एक समीक्षक के रूप में यह एक बहुत बड़ा फायदा है, क्योंकि आप जानते हैं कि लेखक क्या महसूस कर रहा है।
My literary criticism has become less specifically academic. I was really writing literary history in The New Poetic, but my general practice of writing literary criticism is pretty much what it always has been. And there has always been a strong connection between being a writer - I feel as though I know what it feels like inside and I can say I've experienced similar problems and solutions from the inside. And I think that's a great advantage as a critic, because you know what the writer is feeling.
My literary criticism has become less specifically academic. I was really writing literary history in The New Poetic, but my general practice of writing literary criticism is pretty much what it always has been. And there has always been a strong connection between being a writer - I feel as though I know what it feels like inside and I can say I've experienced similar problems and solutions from the inside. And I think that's a great advantage as a critic, because you know what the writer is feeling.