Quotes of All Topics . Occasions . Authors
The superior excellence imputed to the book, which imitates the products of antique and obsolete processes, is conceived to be chiefly a superior utility in the aesthetic respect; but it is not unusual to find a well-bred book-lover insisting that the clumsier product is also more serviceable as a vehicle of printed speech.
We wanted to describe society from our left point of view. Per had written political books, but they'd only sold 300 copies. We realised that people read crime and through the stories we could show the reader that under the official image of welfare-state Sweden there was another layer of poverty, criminality and brutality.
In a way, I'm glad I'm first because I won't have to panic about following anybody other than industry legend John Romita Jr. And he drew Daredevil: The Man Without Fear, which is one of the books that had a massive effect on me as a reader and an artist. It has been intimidating, scary, exciting, and incredibly satisfying.
I taught elementary school and painted apartments for ten years. Now I write full-time and never have to change a thing I write. Every book comes to me in a flash of inspiration and takes me about two seconds to finish. The longer books, like the Time Warp Trio novels, take a little longer to write - more like four seconds.
The books transported her into new worlds and introduced her to amazing people who lived exciting lives. She went on olden-day sailing ships with Joseph Conrad. She went to Africa with Ernest Hemingway and to India with Rudyard Kipling. She travelled all over the world while sitting in her little room in an English village.
Year after year after year, people write books about managing innovation or about leadership, for example, without ever going through the pain of saying, "This kind of leadership will cause this result in these circumstances and a very different result in those circumstances." This is academic malpractice of the worst kind.
I had the analysis of a million or so SNPs [single nucleotide polymorphisms] just to see what was there. That's partly because I was writing a book about DNA and personalized medicine and I thought it would be a little bit disingenuous to talk about what could be done without actually having the experiment done on yourself.
What I envy about musicians is, they have this more direct relationship with the audience. They don't have to go through words. Sure, the lyrics count, but they go more immediately into your brain. There's so much more work you have to put in as a writer - not just with the actual book, but how it's packaged and everything.
I would say that most of my books are contemporary realistic fiction... a couple, maybe three, fall into the 'historic fiction' category. Science fiction is not a favorite genre of mine, though I have greatly enjoyed some of the work of Ursula LeGuin. I haven't read much science fiction so I don't know other sci-fi authors.
My recurring nightmare is that someday I will be faced with a panel: Franklin Roosevelt, John Kennedy and Lyndon Johnson all of whom will be telling me everything I got wrong about them. I know that Johnson's out there saying, 'Why is it that what you wrote about the Kennedys is twice as long as the book you wrote about me?
My little sister told me about the Twilight books and what a big fan she was. She said, "It's like Harry Potter in love," which it's not. So, when the audition came up, I wanted to get the film for her. It was great because I got to take her to the premiere. She got all dolled up and was treated like a princess for the day.
A journal is a very personal thing. As far as possible, to write this sort of book you need to know and feel your character as a person and then put yourself into that person's mind, place and time. Trying to stay in that person, place and time is a challenge when surrounded by this very different world of the 21st century.
And how can we ever again succeed in educating children to become moral men and women if, in America's public schools, we consciously deny them all religious instruction, and deny them access to that primary source of morality, God's own word. The Bible is the one book from which they are expressly not allowed to be taught.
Lifes That Way was an extraordinarily difficult book to write, because it wasnt written as a book. It was written as a journal of events that were happening as I wrote it, without the space or time either to digest or analyze those events and without the hindsight and peace that writing in the aftermath would have provided.
You learn so much with each book, but it's what you teach yourself by writing your own books and by reading good books written by other people - that's the key. You don't want to worry too much about other people's responses to your work, not during the writing and not after. You just need to read and write, and keep going.
Stephen King writes mass fiction but gets reviewed by the New York Times and writes for the New Yorker. Critics say to me, "Shut up and enjoy your money," and I think, OK, I'll shut up and enjoy my money, but why does Stephen King get to enjoy his money and get reviewed on the cover of the New York Times Sunday Book Review?
We sometimes drive ourselves crazy with how our books will be "seen," when in fact we already know what they're about, and where our obsessions are. If we can spin those obsessions into fiction, then there's a decent chance they will be "fiction-worthy," as you call it. The idea of the "sweep of ideas" is a complicated one.
I went to many coaching clinics, talked to other coaches, read articles, books, etc. Anything I could do that would help me prepare to be the best coach possible. Fortunately, the coaches I had as a player were good men and were excellent role models in setting priorities and relating to the team members and coaching staff.
I often compare myself as a kid to my own grandchildren, who are around 11 and 14 now. That's the age kids usually read my book. And I remember myself, we'd gone through a world war. My father was an army officer so I was aware of what was going on. But I wasn't bombarded with images of catastrophe like many kids are today.
To me, Fight Club was a comedy. When [David] Fincher sent me the book and I read it, the first thing I asked him was, "This is a comedy, right?" he said, "Yeah, that's the whole point," and I said, "Okay, I'm in." I certainly wasn't imagining myself as a dramatic actor when I was running around in my underwear in that film.
If I'm alone at home, I get increasingly restless, bothered by the idea that I'm missing some crucial encounter out there somewhere. But if I'm left by myself in someone else's place, I often find myself a nice sense of peace engulfing me. I love sinking into an unfamiliar sofa with whatever book happens to be lying nearby.
Radio is the medium that most closely approximates the experience of reading. As a novelist, I find it very exciting to be able to reach people who might not ever pick up one of my books, either because they can't afford it (as is often the case in Latin America), or because they just don't have the habit of reading novels.
We encounter the grinding wheels that sharpen our mental blades many places in life. Adversity, school, parents, spiritual guides, books, experience are all sharpening teachers. As we grow older, to stay sharp we must find new grindstones to whet and sharpen our potential and keep us at our brightest, most penetrating best.
I would imagine that anyone picking up a book written by me would expect a fast-paced story that requires minimal effort to turn the pages. The reader would also be looking for some out-of-the-ordinary revelations along the way. At the end of the day, I'm a writer who simply loves revealing stuff that is out-of-the-ordinary.
Abate the edge of traitors, gracious Lord, That would reduce these bloody days again And make poor England weep in streams of blood! Let them not live to taste this land's increase That would with treason wound this fair land's peace! Now civil wounds are stopped, peace lives again: That she may long live here, God say amen!
Being goal-oriented instead of self-oriented is crucial. I know so many people who want to be writers. But let me tell you, they really don't want to be writers. They want to have been writers. They wish they had a book in print. They don't want to go through the work of getting the damn book out. There is a huge difference.
Words alone are inadequate to express spiritual realities. This book expresses the Red Indian spirit because it combines the best photographs ever taken of the old-time chiefs with some of their best words. You can meet these old-timers and share their wisdom. People who read this book will better understand our sacred ways.
I can speak of my own criterion for judging whether or not a book is good or bad. I ask of it a single question, From how deep and true an impulse did it spring? Was it written merely to shock? Only to make money? Or was it written to create something more perfect and more lasting than the life experience from which it came?
I haven't read the comic book. I didn't even know there was one until about halfway though. Helen Mirren and I were talking about that actually, who also felt kind of silly. When we had to run she was like, 'Oh God, we're both going to get fired.' The running sequences, it's a particular kind of humiliation because it's fun.
I was born in Darien, Connecticut, but in 1959, when I was four, my parents moved to the suburbs of Toronto. Then, in the late 1960s, they bought a cottage in a resort/trailer park in the Kawarthas region of Ontario, and we moved up there. I wrote a book about it in 2000 called 'Last Resort: Coming of Age in Cottage Country.
The Bible give us a list of human stories on both sides of the ledger. On list of human stories is used examples - do what these people did. Another list of human stories is used as warnings - don't do what these people did. So if your story ever gets in one of these books, make sure they use it as an example, not a warning.
I confess that I have not cleared a path through all seven hundred pages, I confess to having examined only bits and pieces, and yet I know what it is, with that bold and legitimate certainty with which we assert our knowledge of a city, without ever having been rewarded with the intimacy of all the many streets it includes.
I'm sure the government of Qatar is not coming in to grow food for the people of Kenya; it's coming to grow food to sell. If it can also sell to the people of Kenya, well, then good. I think that the moves can be helpful, but I think that the history that Africa knows, as I say in my book, has been a history of exploitation.
We never like to miss an opportunity to make Jesus the Lord of our life. That's why I never like to have a service without giving an invitation or writing a book, without giving an invitation and presenting that truth. I believe this is the whole key to living your best life, living a fulfilled life or becoming a better you.
I didn't go to bookshops to buy. That's a little bourgeois. I went because they were civilized places. It made me happy there were people who sat down and wrote and wrote and wrote and there were other people who devoted their lives to making those words into books. It was lovely. Like standing in the middle of civilization.
When I was 10, I asked my parents for a set of weights. I had my Charles Atlas book to go along with that. Every time we went to the grocery store, I'd rush to the magazine area and read the ones with Arnold Schwarzenegger and all those guys on the covers: 'Pumping Iron,' 'Muscle and Fitness,' 'Muscle Builder by Joe Weider.'
I always have a few ideas that are percolating, and then after I've finished a book and it's a year later, and things are sort of festering and things are disgusting in my house and I have to get back to work, whatever project I keep thinking about is the one I end up working on. Sort of a very simple process of elimination.
There were several points where I would kind of turn to the book and say, "Get thee behind me." I don't think real novelists do that. But I make a distinction between prose that's very efficiency-minded (like, the minimum I can get away with), versus loosening the screws and letting the words spill out beautifully and so on.
We only do what we think is good and what we're happy with. I do that in stand-up, I even do it with my children's books. I don't do market research, I don't have focus groups, I don't care. I don't care if it fails, honestly. I'd rather have something that's completely mine fail than something succeed that I'm not proud of.
I am a Christian resident of New York City. I simply read things the other Manhattanites read (NY Times, New Yorker magazine, Wall Street Journal, and many of the books they read) plus all my Christian reading. I don't do anything special to understand skeptics. I also talk to a lot of skeptics and read things they point to.
Writing prejudicial, off-putting reviews is a precise exercise in applied black magic. The reviewer can draw free-floating disagreeable associations to a book by implying that the book is completely unimportant without saying exactly why, and carefully avoiding any clear images that could capture the reader's full attention.
If I get stuck, I look at a book that tells me how someone else did it. I turn the pages, and then I say, 'Oh, I forgot that bit,' then close the book and carry on. Finally, after you've figured out how to do it, you read how they did it and find out how dumb your solution is and how much more clever and efficient theirs is!
I loved the movie theater so I always saw a lot of movies. And then there was a play, I saw in the local paper, they were having auditions for a play of a book I had read. Which was One Flew Over the Cuckoo's Nest by Ken Kesey. So I said, "oh, I've read this, so I'm perfect for the part of the lead." His name is escaping me.
I wrote seven Myron Bolitar novels in a row, and I never want to write a Myron book where he just solves a crime. Every one of them I want to be personal, and I want him to grow and change. The problem with that is, it makes the series limited, you can't write a series where a guy is always going through some kind of crisis.
When autumn shadows throw their patterns across the land, they are not the images of fragile, dying leaves, not the bared arms of lofty elms, not shadows of a fading summer; but swinging shapes as of books upon a strap, of round and square boxes held under an arm, of hurrying little people heading towards the nearest school.
My childhood dream was to study mechanical engineering. After reading 'The Mysterious Island' - which I read 25 times as a boy - I thought that was the best thing a person could do. The engineer in the book knows mechanics and physics, and he creates a whole way of life on the island out of nothing. I wanted to be like that.
In my book "Sound Unbound" we traced the guy who actually came up with the main concept for the graphic design of the record cover sleeve. His name is Alex Steinweiss. And one of the things in my book that we really tried to figure out was the revolution in graphic design that occurred when people put images on album covers.
The book Manufacturing Consent, which I co-authored with Edward Herman, begins with a description of the structure and institutional setting of the commercial media, and then draws some rather simple-minded conclusions about what we would expect the media product to be, given these (not particularly controversial) conditions.
I read The Vegetarian and fell in love with it. A year later, I was invited to go and speak at the London Book Fair (which I'd never even heard of before), as they were gearing up for Korea being the market focus country in 2014. I met Max Porter there, Kang's editor at Portobello, sent him my sample, and the rest is history.
I thought, "Well, I'm writing about early childhood, so maybe it would make sense to write about late childhood as well, early adulthood." Those were my thoughts, and this was how this crazy book [Winter Journal] was composed. I've never seen a book with pictures like at the end, pictures related to things you've read before.