What is considered normal for a person to feel in any place at any point is liable to be an abbreviated version of what is in fact normal, so that the experiences of fictional characters afford us a hugely expanded picture of human behavior, and thereby a confirmation of the essential normality of thoughts or feelings unmentioned in our immediate environment.from Alain de Botton's How Proust Can Change Your Life--a highly recommended book for those who want to uncover the pleasures--and sorrows--of the Proustian world.
Yur ni bolomj oldvol de Botton-ii nomuudiig zaaval olj unshaaray. Yalanguya Architecture of Happiness bol classic! Architecture-iin jinhene amtiig endees l avna (hervee sanaj baigaa bol ene nom 500 Days of Summer deer gol inspiration source boldog). Deer ni nemeed sayhan garsan The Pleasures and Sorrows of Work neleed sain review avsan. Daan ch nimgen turiivchtey minii bie nomiin delguurt heden huudsiig ni erguulj uzsenees tsaashguy. Hervee zavtay bol Monocle deer garsan video excerpt hiigeed de Botton-ii Tyler Brule-tey hiisen Q&A-iig uzeerey + an hour long podcast. Tegeed bur horhoi chini hurvel "philosophy of everyday life"-iin talaar bichigdsen busad nomuudiinh ni talaar website-aas ni olj unshina biz dee.
Current film: L'Heure d'été: Deer Larry Kasdan-ii lecture deer suuj baihad ene kinonii talaar yarij baisan. Haij yavsaar uchigdur shunu olj uzev. What a brilliant movie! Generation hoorondiin yalgaa, adil tal; yuruusuu amidral herhen uragshildag talaarh asar mundag ergetsuulel!
Current album(s): Ryan Adams-iin Ludwigshafen-d togloson concert-iin bichleg. Endees uneguy tataj avaaray (Magnolia Mountain!).
Stars - Heart: The album just spoke to me--and Life Effect as the culmination of the whole experience.
Addendum: Compare the abovementioned quote of de Botton to Nabokov's passage from Good Readers and Good Writers:
So what is the authentic instrument to be used by the reader? It is impersonal imagination and artistic delight. What should be established, I think, is an artistic harmonious balance between the reader’s mind and the author’s mind. We ought to remain a little aloof and take pleasure in this aloofness while at the same time we keenly enjoy—passionately enjoy, enjoy with tears and shivers—the inner weave of a given masterpiece. To be quite objective in these matters is of course impossible. Everything that is worthwhile is to some extent subjective. For instance, you sitting there may be merely my dream, and I may be your nightmare. But what I mean is that the reader must know when and where to curb his imagination and this he does by trying to get clear the specific world the author places at his disposal. We must see things and hear things, we must visualize the rooms, the clothes, the manners of an author’s people. The color of Fanny Price’s eyes in Mansfield Park and the furnishing of her cold little room are important.