What is the purpose of travel writing

First, what is travel writing? And why is it important to write travel now? so read this article completely to obtain all the knowledge on What is the purpose of travel writing given in this article

Travel is important in writing because it brings humanity to distant places. Unlike standard journalism, it does not pretend to be disabled, and it does not follow the aftermath of a panic-stricken 24-hour news cycle. Instead, it uses its personal lens to explore the realities of everyday life away from home, and seeks human commonalities because of its cultural differences.

Indeed. Most travel articles do not follow this ideal. When some other cultures are encountered, some journeys become self-absorbed or dumb in writing. And most of the things these days that feature "travel writing" are primarily consumer information for vacationers - where to go, how to get there, what to see and what to buy when you get there. Are That's right, I understand - most travelers benefit from authoritative guidance and tips - but the best travel writing is a temporary investigation elsewhere, which seeks to understand after being aware of its limited perspective. ۔ Like all good literature, its main features speak to universal themes.

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But leaning on the surface of the big picture for a moment, one might ask the question: What is not writing travel? In fact, one of the most enduring human narratives. Which predicts literacy. It is the story of a wanderer who leaves home, faces the challenges of strangers, and returns to tell a story. From the epic Gilgamesh to the imaginary myths set in Oz, Narnia, or Westers, the journey has always been a literary process that stimulates struggle and learning and change.

As far as fact-based travel writing is concerned, the traps we still associate with this genre go back at least to the histories of Herodotus, who tried to make sense of the Near Eastern cultures (confession incomplete). Used underground investigation and reporting. For the Greek audience. For more than two thousand years - from Zhang Qian and Ibn Battuta to the distant wanderings of the British Empire - the implicit function of travel writing has been to describe the customs and religions of distant peoples and places. One of the key sources of information about the outside world was travel writing, and it not only influenced research, science, and commerce - it also influenced the history of ideas and literature. The influence of travel writing on Don Quixote or Robinson Crusoe is easy to see, but its DNA can also be found in The Fairy Queen and The Tempest and King James Bible translations (including Eden's Evacuation). Mirrors John Lefeld's statements.

In the nineteenth century, as railroads and steam and telegrams were shrinking the world and giving it more information, the mission of travel writing was slowly moving in another personal direction. Over time, scientific explanations of cultures far from the author's first-person account of traveling to these cultures became less necessary. Alexander Kunglock, Mark Twain, and Isabella Bird popularized the style of this narrative in the late nineteenth century - and the most famous travel books of the late twentieth century were the first-person news with the disappearance of the traveler's internal life memory. Of.

What is the purpose of travel writing

Literary travel writing is still in the overlap of reporting and memory, and some memorable travel writing (John Morris, Pico Eyre, and Han Pamuk about January) is not so much about physical activity as it is about realizing. Considering the complexity of the human experience in one place, or in the flow of the world. At a time when academic subjects are being dealt with by hyper-skilled and foreign correspondents on wars and crises, travel writers are allowed to dig, slow things down, and use a variety of interpretive lenses. A good travel book is not just about information and memory. It can mix geography with gastronomy, history with humor, sociology with spirituality. Best of all, it's about an understanding writer who uses a narrative strategy to make sense of a place and himself as a person experiencing that place.
Travelogues were more of a colonial-type: a representative of world culture would travel to a distant and foreign land, and then return to report how fascinating the place was for its difference. So even if it has gradually become more important than a personal reaction to a place or culture, there can still be a strong element of cultural judgment in that reaction. This can come as a positive decision, say, when a travel writer has only positive things to say about the culture they call charming, while he has a superficial view of those people. Which they explain. Have you ever bothered in the work that you were guilty of writing before you knew a place well? How do travel writers know about the fact that they are primarily visitors, but write about it and claim some sort of authority over a place?

I think every travel writer thinks about trying to photograph a place without knowing it properly. I know I do - and I would doubt any travel writer who didn't struggle with the process.

In fact, this issue has become a bit of a joke among travel writers in recent years. When DH Lawrence visited Florence in 1921, Norman Douglas scoffed at the fact that he was "expressing the mood of the people with intensity and eloquence" within days of his arrival. Two decades later, when George Orwell reviewed Henry Miller's Marcus Colossus, he said that because of the tendency to discover the 'soul' of a city after spending two hours in it, "the whole of the travel book Minor stains, fake severity "encountered. The best story in this regard is that of the 19th-century philosopher Herbert Spencer, who wrote about a French tourist who was ready to write a book about England three weeks after his visit. Three months later, this Frenchman The man decided he was not ready yet - and three years later decided he had no choice but to write a book about England.

Of course, no one with the Ironclad Authority knows "enough" a place to write about it. This includes historians, anthropologists, and the people who live there. Orhan Pamuk's book about his hometown of Istanbul has been hailed as a masterpiece, but I would imagine that his own neighbors could take his city with its sour, emotional, and mental issue. ۔ Pamuk, a novelist and academic, sees his city through the lens of art and literature, while a Turkish butcher or banker or beautician can see the city in a completely different way. My 1999 Istanbul, "Turkey's Knockout" contest, which chronicles drug-related robberies in the well-visited city of Sultanahmet, is no different from the fact that when I got there, I left the city. Absolutely ignorant. Reading this, one doesn't learn much about Istanbul from a personal historical point of view, but it does give an idea of what a part of the city was like for a certain number of American tourists.
Much of my early travel writing explored the transitional, long-distance space that rested on us as travelers. "Storming the Beach", set in Thailand, and "Tantric Sex for Delinquents", set in India, with light-hearted stories, such as "Tark Knockout" from my 2008 book "Marco Polo" Cool ". These ridiculous stories are given less attention to the essential nature of Thailand or India, instead of us opening up to the fantasies that take place in these places. Both of these stories end with a sense of my own head-made bidding - and when the other stories in the book present the locals with whom I am associated as a traveler, I always tried to make it clear. That my point of view was minimal. As a writer, I'm not talking about these places as much as I'm referring to the historical experience of a certain middle-class American man at a particular moment in history, at certain times of the year. I can bring research, history, literature, reporting - to help understand my experiences (like most travel writers), but I don't claim to be authentic.

The formal acknowledgment that the traveler always works from a specific personal cultural point of view. The histories of Herodotus, for example, are intended to describe other lands and cultures, but the author constantly reminds the reader of his own narrative doubts. Moreover, it is clear that he is describing the customs of non-Greek cultures (their gender relations, chastity, toilet protocol) to the Greek audience. In this way, history reveals as much about ancient Greece as it does in the places described. Therefore, as long as it exists around, a cultural approach is always used to convey the other's sense of travel, and any account (ancient or modern, colonial or post-colonial) that demonstrates the object He must be blind to his own prejudices and ideologies

It is interesting to note that the concept of the "journalistic object" originated in the nineteenth century, at a time when other cultures (in countries such as the United Kingdom) used certain types of travelogues as literal excuses to colonize. Was going I don't want to dismiss journalistic objectivity with a broader brush - the idea was to promote more ethical, experimental reporting - but when you travel to remote areas and take into account what you see "I" Leave out the objective authority that does not exist in the real world. Part of the pressure to make foreign reporting more objective was the abuse of romantic travel writing - which proved that when trying to photograph other places, they were realistically collective. It can also be unreliable. So this is a difficult field that a travel writer should navigate - in which the "I" is largely to draw the reader towards its citizenship while going beyond the "I" and giving meaningful information about them. To give to those who have that place.

In the 21st century we no longer need to write travel to teach about other places - especially when people living in these places are documenting their lives in real-time, including videos, social media posts. And his personal but travel writing with his personal articles was never about pure reporting. When a writer from one culture has another visit, he is under stress. It is not just a confession of confusion and pain and moderation that connects the writing of the journey to the entertainment and home audience. Much of the power of travel narrative (unlike narrative history or the big picture of social science) lies within the self-proclaimed limits of one's first-person perspective.

Apart from the issues, we have already discussed, what should the next generation of travel writers be aware of?

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I don't think the basic work of travel writing - slow walking, experimenting, listening, finding significance, reflecting - has changed much, and won't change much in the future. Most travel writing is about understanding your ideas in the past and thinking about your experience and being honest. This naturally applies to retrieve the raw cultural stereotypes of the past, but it also means avoiding performance sensitivities and the utility of other cultures. And, as I've suggested before, the optical point of view is the point of view: remind the reader not only of what is being experimented with and what is being reported but also of what it is. Who is experiencing it and reporting it?

What is the purpose of travel writing

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What is the purpose of travel writing