Quotes of All Topics . Occasions . Authors
I was given a thick paperback copy of the 'Guinness Book of Records' when I was 11 years old, and I read it gluttonously, cover to cover, paying special lip-smacking attention to all the incredibly gruesome chapters about the violence of human history.
An imaginative book renders us much more service at first, by stimulating us through its tropes, than afterward, when we arrive atthe precise sense of the author. I think nothing is of any value in books, excepting the transcendental and extraordinary.
By hook or by crook, I hope that you will possess yourselves of money enough to travel and to idle, to contemplate the future or the past of the world, to dream over books and loiter at street corners and let the line of thought dip deep into the stream
One of the most beautiful passages of Rousseau is that in the sixth book of Confessions, where he describes the awakening in him of the literary sense. Of such wisdom, the poetic passion, the desire of beauty, the love of art for its own sake, has most.
My book 'Trust Your Heart', which is the story of my life, will be followed by 'Singing Lessons', a memoir of love, loss, hope, and healing, which talks about the death of my son and the hope that has been the aftermath of the healing from that tragedy.
Every concerned citizen and policy maker should read this book. The environmentalists will hate it. The world's destitute masses will love it. And everyone will be challenged by it to reexamine their beliefs and the environmental establishment's claims.
You told us over and over that you don’t think you could live without books, but the ironic thing is, you’d probably die before you’d think to rip pages out of one to start a fire. Am I right? Well, get over it already. Better to be warm then well-read.
Boswell's Johnson is the word made flesh... an extemporaneous man talking himself into the thick of every occasion (in a world ofoccasions if nothing else) and therefore no monument at all but all that can be saved of a man alive in the pages of a book.
As a writer you know you don't have to deal with a lot of the crap that most people deal with, the political things. Every couple of years when your book comes out then you have to go into these fights with the publisher and the publicist and that's it.
Nothing beats love. Love is the greatest healing power there is; nothing else comes close. Not ancient cures, modern medicines and technologies, or all the interesting books we read or the wise things we say and think. Love has a transformational power.
Fiction allows for moral questioning, but through the back door. Personally, I like books that make you think - books you're still wondering about three days after you finish them; books you hand to a friend and say "Read this, so we can talk about it."
When it comes to the point where you occasionally look forward to being in prison on the basis that you might be able to spend a day reading a book, the realisation dawns that perhaps the situation has become a little more stressful than you would like.
I was big into mythology when I was a kid - Arthurian legends and Greek mythology, that was kind of my passion. I hadn't heard of the books, but I was told they were very popular amongst the kids, so I got a hold of them and read them. I totally got it!
And if our book consumption remains as low as it has been, at least let us admit that it is because reading is a less exciting pastime than going to the dogs, the pictures or the pub, and not because books, whether bought or borrowed, are too expensive.
I made an executive decision in college when I learned how behind I was in the world of books, films, and music because of my rural upbringing. I really reduced the amount of time that sports took up in my life.I still have some Faulkner to get through.
So before I start work on a book, I'm like a pregnant mole - I obsessively tidy and order my closets and everything in my study. Because there's such a cascade of images and ideas that I'm grapping with mentally, I couldn't also be in a chaotic setting.
And what would happen if we never read the classics? There comes a point in life, it seems to me, where you have to decide whether you're a Person of Letters or merely someone who loves books, and I'm beginning to see that the book lovers have more fun.
I hate those endless descriptions of a heroine's physical attributes . . . it really bothers me how in books it seems like the only two choices are perfection or self-hatred. As if readers will only like a character who's ideal--or completely shattered.
Harcourt sent my book to Evelyn Waugh and his comment was: “If this is really the unaided work of a young lady, it is a remarkable product.” My mother was vastly insulted. She put the emphasis on if and lady. Does he suppose you’re not a lady? she says.
[With "Summer Sisters" the publisher] sent me on a big book tour. And it was the most wonderful professional experience of my life. I mean it was like Kleenex on every table wherever I was, friends patting friends on the back and they'd cry and I'd cry.
i love girls under pressure but wouldn't recommend it to people who are under 10. i read it at the age of nine but my sister told me the bit u should never do. all in all, i loved this book and any jacqueline wilson fans over 10 i would recommend it to!
You can't judge a book by its cover, though. People think I'm bad because I got tattoos or snort a little cocaine here and there. They think I'm a killer. But what if I wasn't a killer? Then what? Don't be tripping on me. I pay my damn taxes, OK? Chill.
I was a weird kid because I liked to be alone, but I craved attention. It was important for me to be cool, but I couldn't keep my mouth shut. So I was either talking for the sake of talking, or I was curled up with a book somewhere hiding from everyone.
I had no idea that 'Less Than Zero' was going to be read by anyone outside of Los Angeles, and it's - believe me, as the writer of the book I'm somewhat amused and intrigued by the idea that 25 years later it's still out and people are still reading it.
The spirit that America has, the American industry creativity it has where anything is possible. Three idealistic Australians bringing in new ideas and being able to make the damn comic books that they've always dreamed about, it's kind of a cool thing.
When you read a book, the neurons in your brain fire overtime, deciding what the characters are wearing, how they're standing, and what it feels like the first time they kiss. No one shows you. The words make suggestions. Your brain paints the pictures.
I think the purveyors of e-books are only too happy for this atmosphere of 'everything belongs to everybody' to increase because it means they don't have to think so much about the original maker of the thing, or they can get away with paying them less.
What we did [shooting "Fences"] was we got young students from Carnegie Mellon, the acting and theater students, and we had them as our understudies. I told them, "You have to be off book and be ready. If Viola [Davis] has to leave you have to jump in."
When Gordon the Brown, in London in 1997, commissioned a great inquisition or survey of his new realm, the result was the so-called national asset register (NAR), which was immediately dubbed by the boomers of the UK Treasury "the modern Domesday Book".
What took you so long?” Will asked when Evie came panting into the room. He and Jericho had assembled a stack of books, which they were tucking into Will’s attaché case. “I walked to Jerusalem for the Bible. I knew you’d want an original,” Evie snapped.
Children's books aren't textbooks. Their primary purpose isn't supposed to be "Pick this up and it will teach you this." It's not how literature should be. You probably do learn something from every book you pick up, but it might be simply how to laugh.
The nice thing about programming at the RDF level is that you can just say, I'll ask for all the books. You can ask for all the shelves. You can ask for a given shelf whether a book was on it. And you're not worrying so much about the underlying syntax.
'Dear Mr. Henshaw' came about because two different boys from different parts of the country asked me to write a book about a boy whose parents were divorced, and so I wrote 'Dear Mr. Henshaw,' and it won the Newbery, and I was - it's been very popular.
One day, about the middle of July 1838, one of the carriages, lately introduced to Paris cabstands, and known as Milords, was driving down the Rue de l'Universite, conveying a stout man of middle height in the uniform of a captain of the National Guard.
Stop it. This is serious! (Selena) Serious? Please. I’m standing out here on my twenty-ninth birthday, barefoot and in jeans my mother would burn, holding a stupid book to my chest in an effort to summon a Greek love-slave from the great beyond. (Grace)
Not that the writers weren't good. I believe in those books and those writers very much. It's just that in the climate it's really hard to keep the lights on and the doors open when you're selling poetry and literature that appeals to a fringe audience.
My maternal grandmother - she was a compulsive reader. She had only been through five grades of elementary school, but she was a member of the municipal library, and she brought home two or three books a week for me. They could be dime novels or Balzac.
It's perfect. It's awesome. Every day is just filled with just wins. All we do is put wins in the record books. We win so radically in our underwear before our first cup of coffee, it's scary. People say it's lonely at the top, but I sure like the view.
I felt more doubtful than usual with 'Goon Squad,' because I knew that the book's genre wasn't easily named - Novel? Stories? Novel-in-stories? - and I worried that its lack of a clear category would count against it. My hopes for it were pretty modest.
Every time you finish something ... you figure you've finally learned to write, right? Then you start something else and it turns out you haven't. You have learned how to write that story, or that book, but you haven't learned how to write the next one.
When I was twelve, the passage from silent film to the talkies had an impact on me-I still watch silent films. I don't think that there is any such thing as an old film; you don't say, 'I read an old book by Flaubert,' or 'I saw an old play by Moliere.'
Books ... were merely nodes in a near-infinite matrix of information that exists in four dimensions, evolving toward the idea of the concept of the approximation of the shadow of Truth vertically through time as well as longitudinally through knowledge.
Children start off reading in books about lions and giraffes and so on, but they also-if theyre lucky enough and have reasonable privileges of any human being-are able to go into a garden and turn over stone and see a worm and see a slug and see an ant.
No good book has ever been written that has in it symbols arrived at beforehand and stuck in. ... I tried to make a real old man, a real boy, a real sea and a real fish and real sharks. But if I made them good and true enough they would mean many things
Well, in Angel of Hope, Amber ends up going in her sister's stead. The focus of that book and the next one coming out, Angel of Love, is how she finds her way out of her sister's shadow and into herself. That's really what those two novels are based on.
In a movie, you need good actors, whereas in a book, you don't, unless you have a really bad imagination. In a book, your imagination will do the acting for you. Also, the process of revelation is often different. Tension is achieved in a different way.
In the book, I write about children in first grade who were taught to read by reading want ads. They learned to write by writing job applications. Imagine what would happen if anyone tried to do that to children in a predominantly white suburban school.
I usually start with something that has some energy, like a compressed character or a situation that's wound up like a spring. Then all I have to do is let it go, let its energy carry the story. And that may not turn out to be the beginning of the book.
We had many books and pictures... my parents' way of life doubtless left a lasting impression on me. They created an atmosphere in which a certain kind of freedom could exist. This may well account for my seeking a related sense of liberty as I grew up.
All writers learn this, in time: don't show your work to other people until it's safely finished. Even discussing your unborn book in quite general terms can be such an undermining experience that, afterwards, you give it up and go to live in Guatemala.