Quotes of All Topics . Occasions . Authors
I read a book recently by a psychiatrist who was able to interview a few serial killers and she had a thesis on how you could figure these people out. And she thinks that there are things that could tell you whether someone has the potential to do that.
Even though Chinese society was really closed, there were two windows for me to explore the world. One was from my mother and grandmother, the unseen and invisible world. Another window was brought from my father's side, those classic and Western books.
I didn't want the book [of memoirs] out, naturally - Larry [Grobel] knew that for 20 years, 15 at least, I didn't want anything written about me. Then, you know, things happen, finally it's OK and I trust Larry. Nothing about it is salacious in any way.
Books, not which afford us a cowering enjoyment, but in which each thought is of unusual daring; such as an idle man cannot read, and a timid one would not be entertained by, which even make us dangerous to existing institution - such call I good books.
It's funny that I got to do 'On the Road' because the thing that had the biggest impact on me growing up was reading books. I was very inspired by the book and this spirit of Dean Moriarty and how envious we all are of somebody who can be that carefree.
Trout, incidentally, had written a book about a money tree. It had twenty-dollar bills for leaves. Its flowers were government bonds. Its fruit was diamonds. It attracted human beings who killed each other around the roots and made very good fertilizer.
My first book was about grappling with my identity and transitioning medically and socially as a young person. At that point, it hadn't been told yet. There wasn't a trans memoir that was written from the perspective of a young person that transitioned.
Do not suppose, however, that I intend to urge a diet of classics on anybody. I have seen such diets at work. I have known people who have actually read all, or almost all, the guaranteed Hundred Best Books. God save us from reading nothing but the best.
When I begin a book, I inevitably discover many things along the way, about the characters, their past histories and the political intrigues that surround them. This discovery process is vital, and I would not prejudice it by deciding too much in advance
Through reading, I escaped the bad parts of my life in the South Bronx. And, through books, I got to travel the world and the universe. It, to me, was a passport out of my childhood and it remains a way - through the power of words - to change the world.
As a publisher what you are trying to build is a long life for a book, to help it find its readers in many different ways, whether or not it made this list or got that review, etc. I'm sure some of that thinking has been useful to me as a writer as well.
My office has been one of the most scrupulous in the country with regard to the protection of individual rights. I've been on record for years in law journals and books as championing the rights of the individual against the oppressive power of the state
A colleague once described political theorists as people who were obsessed with two dozen books; after half a century of grappling with Mill's essay On Liberty, or Hobbes's Leviathan, I have sometimes thought two dozen might be a little on the high side.
I read the books the day before I had met with the director Catherine Hardwicke. The first I heard of it was my agent called and said, 'Do you want to be in a vampire movie?' and I said 'No.' I thought it was like a zombie, blood-and-guts, vampire movie.
Nature is a book of many pages and each page tells a fascinating story to him who learns her language. Our fertile valleys and craggy mountains recite an epic poem of geologic conflicts. The starry sky reveal gigantic suns and space and time without end.
I'd go for "really great writer." Although I don't think I am. I know I have a style which is recognizable. I think you can see Terry Pratchett in every book. I like doing it. I was once a journalist. And I think of myself as a journalist, and that's it.
The idea wasn't to make a direct political statement since the current economic collapse hadn't begun when we started on the book. The parallels I'm most interested in are the ways that human nature never changes, no matter how far back in time you look.
The reason I was successful in launching my first book with bloggers is this: I assumed that I should spend as much time on a blogger with a million-person readership as I would pitching an editor of a publication with a million person subscription-base.
In America there is a public library in every community. How many public libraries are there in Africa? Every day there are new books coming out and new ideas being discussed. But these new books and ideas don't reach Africa and we are being left behind.
I actually kind of like Janet Reno. She seems like a nice enough lady. But when you're basically going through the entire phone book trying to find women lawyers who don't have maids to pick the attorney general of the United States, how well can you do?
There are no stories without meaning. And I am one of those men who can find it even when others fail to see it. Afterwards the story becomes the book of the living, like a blaring trumpet that raises from the tomb those who have been dust for centuries.
I know that books I have written will still resonate in 50 years - particularly 'My Sister's Keeper.' It has sold three million copies in the States alone. I strongly feel that, as a novelist, you have a platform and the ability to change people's minds.
My mom was in education, and I remember reading in one of her books about multiple intelligences - this whole theory about how there are all these different ways you can be intelligent, like eight or 10 of them or something. And one of them is emotional.
Teaching regularly has made me an even more adept reader, I think. The kind of teaching I do is more like editing than anything else. The kind of editing book editors used to do before lunch. The kind of editing I used to do as a radio documentary maker.
I no longer know the author of this book, for simply stopping long enough and writing it down was where I changed from a boy with his eyes squeezed shut to a man with his eyes wide open so that the sunlight might reach my heart despite all that darkness.
In the past few years I've assigned books to be read before a student attends one of my weeklong seminars. I have been astonished by how few people -- people who supposedly want to write -- read books, and if they read them, how little they examine them.
Throughout my career I've struggled to encourage people to read my books on a more metaphorical level. I'm less attached to my settings than, for example, Saul Bellow. The setting of a novel for me is just a part of the technique. I choose it at the end.
Your first book is the only one that matters. Perhaps a writer should write only that one. That is the one moment when you make the big leap; the opportunity to express yourself is offered that once, and you untie the knot within you then or never again.
Of course anyone who truly loves books buys more of them than he or she can hope to read in one fleeting lifetime. A good book, resting unopened in its slot on a shelf, full of majestic potentiality, is the most comforting sort of intellectual wallpaper.
From the Olympian heights of an executive suite, in an atmosphere where your success is judged by the extent to which you can maximise profits, the overwhelming tendency must be to see people as units of production, as indices in your accountants' books.
Every book should begin with attractive endpapers. Preferably in a dark colour: dark red or dark blue, depending on the binding. When you open the book it's like going to the theatre. First you see the curtain. Then it's pulled aside and the show begins.
He was intrigued by the power of words, not the literary words that filled the books in the library but the sharp, staccato words that went into the writing of news stories. Words that went for the jugular. Active verbs that danced and raced on the page.
At times there seems to be a million ideas worth painting. However, there are days when it's a challenge to pull any idea together. On these days I go to my studio, leaf through an art history book, and tell myself that I am part of this great tradition.
I do a lot of research and yes, do know quite a few police officers, friends of mine and my husbands. However, most of my books are researched based on Canadian laws or the laws of each country (ie: Mexico and USA) and I do my best to make them accurate.
I can never tell ahead of time which book will give me trouble - some balk every step of the way, others seem to write themselves - but certainly the mechanics of writing, finding the time and the psychic space, are easier now that my children are grown.
My people. I have given them a sense of individuality, integrity. I have not made them slaves of any god or any religion. Nor of any holy book or any priest. I have certainly not replaced their god. They are all a part of what I call my traveling circus.
When people want to sound smart, they add syllables to words, words to sentences, sentences to paragraphs, paragraphs to books. They try to make up in quantity and complexity what they lack in quality. That's bullshit! They're just hiding their bullshit!
If I had my way books would not be written in English, but in an exceedingly difficult secret language that only skilled professional readers and story-tellers could interpret. Then people would have to go to public halls and pay good prices to hear. . .
always had the thought I could attract abundance. When I wrote the book Your Erroneous Zones back in the '70s, I absolutely knew the book was going to do well, but it wasn't a goal at all. I just went out there and started doing something I really loved.
When you're looking around for metaphor or simile, I do think it's often helpful to keep inside the world of the book, to gather your comparisons from the stuff particular to that world - be they king salmon and aviation fuel, or pot roasts and spatulas.
What is most appalling in an F. Scott Fitzgerald book is that it is peopleless fiction: Fitzgerald writes about spectral, muscledsuits; dresses, hats, and sleeves which have some sort of vague, libidinous throb. These are plainly the product of sickness.
Nobody wanted to publish a book about fairies; they said people wouldn't be interested. Luckily, I discovered Lady Cottington and her pressed fairies, which revived a huge amount of interest in fairies, so I could go ahead and do the book I wanted to do.
There is no such thing as equality for some. Equality must be for all. That is what freedom is. That is what liberty is. No human being is born more or less important than any other. How can we allow ourselves to forget that? What simpler truth is there?
That's what I tried to share in this book, Back From The Dead, the ability to learn, to dream, to hope. In a world that is far too often selling fear and death, I'm selling hope and life and success and that's why I chose to be part of the Grateful Dead.
A writer who wishes to be read by posterity must not be averse to putting hints which might give rise to whole books, or ideas for learned discussions, in some corner of a chapter so that one should think he can afford to throw them away by the thousand.
Violence has been a part of storytelling forever and there's obviously a reason for it. Fairy tales are really violent, the original ones. I think there's something cathartic about having kids live through their fears through a book or any kind of story.
All books can be indecent books, though recent books are bolder. For filth, I'm glad to say, is in the mind of the beholder. When correctly viewed, everything is lewd. I could tell you things about Peter Pan and the Wizard of OZ, there's a dirty old man!
With my book 'How to Remodel a Man,' I was on Oprah, Fox News, the Early Show, and Good Morning America. Oprah was the best - an hour long segment. TV is so short; you answer a few questions, and then it's over. It feels like a hit-and-run with a camera.
I think most Native American literature is unreadable by the vast majority of Native Americans. Generally speaking Indians don't read books. It's not a book culture. That's why I'm trying to make movies. Indians go to movies; Indians own video recorders.
I consider my greatest strength my complete and utter faith in a loving God. Strong family values are also important and I do not hesitate to write them into my books. My reader mail tells me this is something that readers especially like about my books.