![]() ![]() But I have seen many masters being positively indifferent to dialogues – like Jose Saramago, Roberto Bolano, Cormac McCarthy and now Patrick S üskind – and who just told a story with minimal or no dialogue (even Michael Crichton in his first book ‘The Andromeda Strain’ avoided dialogues and stuck to narration). One of the things that is taught in creative writing classes is that aspiring writers should learn how to write dialogue, because it makes it easy for the reader because the pages fly while reading dialogues between characters. One of the other things that I noticed about the book was that it had very less dialogue. I am jealous of readers who have read it in the original □ I couldn’t stop thinking that if the prose was so good in translation how it would be in the original. I encountered beautiful lines and passages in every page that I couldn’t stop highlighting. ![]() ![]() The book can be read just for the prose and for the sensory descriptions of scents and fragrances. Patrick S üskind’s prose is beautiful, exquisite, delightful and is a pleasure to read. But aside from this minor complaint, I really enjoyed reading ‘Perfume’. Even that last twenty percent was predominantly about the main character’s search for a legendary perfume. I had a problem with the subtitle of the book, because eighty percent of the book was about perfumes and only the last twenty percent involved murders. ![]()
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