Daniel Kehlmann
Daniel Kehlmann
#### Full Name and Common Aliases
Daniel Kehlmann is a German novelist, playwright, and essayist known for his critically acclaimed works that often explore the complexities of human relationships.
#### Birth and Death Dates
Born on December 13, 1975, in Munich, Germany.
#### Nationality and Profession(s)
German writer, novelist, playwright, and essayist.
Early Life and Background
Growing up in a family of intellectuals, Kehlmann was exposed to literature from an early age. His father, Hans-Harald Kehlmann, is a literary critic, while his mother, Ursula Kehlmann, is a writer. This environment fostered an appreciation for language and storytelling that would later shape Kehlmann's writing style.
Kehlmann spent part of his childhood in Paris and then moved to Berlin with his family when he was eight years old. He developed a fascination with the German history and culture during this period, which would become a significant influence on his work.
Major Accomplishments
Kehlmann's literary career spans over two decades, marked by numerous awards and recognition for his innovative storytelling.
His debut novel, Fame (2009), was an instant success in Germany and received critical acclaim worldwide.
The novel explores the complexities of identity, fame, and the human condition through a fictionalized account of the lives of two German writers, Günter Grass and Martin Walser.
Kehlmann's subsequent novels have continued to push boundaries in literary fiction, tackling themes such as existentialism, morality, and the fragility of human relationships.Notable Works or Actions
Kehlmann's writing often blurs the lines between fact and fiction, leaving readers questioning what is real and what is not. Some notable works include:
Measuring the World (2006), a sweeping historical novel that explores the lives of two German explorers in South America.
* Fame, as mentioned earlier, which has been translated into over 20 languages.
Impact and Legacy
Daniel Kehlmann's work has had a significant impact on contemporary literature. His innovative style and thematic focus have influenced a new generation of writers, pushing the boundaries of literary fiction.
Kehlmann's writing often sparks debate and discussion among readers and critics alike, reflecting his ability to tackle complex themes with nuance and sensitivity.
Quotes by Daniel Kehlmann
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.
What should he do if word went around that in his throne room hung a magic picture that only the highborn could see, but he couldn’t? Of course there was no picture there, it had been one of the fool’s jokes, but now that the canvas hung there, it had developed its own power.
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.
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 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.
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.
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.
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.
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.