Book Quotes - Page 348

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One day I would have all the books in the world, shelves and shelves of them. I would live my life in a tower of books. I would read all day long and eat peaches. And if any young knights in armor dared to come calling on their white chargers and plead with me to let down my hair, I would pelt them with peach pits until they went home.

IMPORTANT Book reading is a solitary and sedentary pursuit, and those who do are cautioned that a book should be used as an integral part of a well-rounded life, including a daily regimen of rigorous physical exercise, rewarding personal relationships, and sensible low-fat diet. A book should not be used a as a substitute or an excuse.

I told myself, "Lincoln, you can never make a lawyer if you do not understand what demonstrate means." So I left my situation in Springfield, went home to my father's house, and stayed there till I could give any proposition in the six books of Euclid at sight. I then found out what "demonstrate" means, and went back to my law studies.

Reading is sometimes thought of as a form of escapism, and it’s a common turn of phrase to speak of getting lost in a book. But a book can also be where one finds oneself; and when a reader is grasped and held by a book, reading does not feel like an escape from life so much as it feels like an urgent, crucial dimension of life itself.

I read the 'Twilight' books before the movie and the whole craze happened. And then I loved it. I was in love with Edward before every other girl that says she's in love with him was. Because I read them a long time ago shooting a movie in Salt Lake City, and one of Stephenie Meyer's friends said, 'Make sure you read my friend's book.'

Don't believe a teaching just because you've heard it from a man who's supposed to be holy, or because it's contained in a book supposed to be holy, or because all your friends and neighbors believe it. But whatever you've observed and analyzed for yourself and found to be reasonable and good, then accept that and put it into practice.

Michelle Alexander's brave and bold new book paints a haunting picture in which dreary felon garb, post-prison joblessness, and loss of voting rights now do the stigmatizing work once done by colored-only water fountains and legally segregated schools. With dazzling candor, Alexander argues that we all pay the cost of the new Jim Crow.

There is little disagreement on our planet that the lives of most human beings could be improved immensely. Words pour out of lecturers, articles pour out of magazines, and books pour out of authors, all seeking to help us understand how we can have more peace, security, health, opportunity, happiness, fulfillment, abundance, and love.

It was the books I started reading. It was the music I started listening to. It was the television I started watching. I found myself thinking again. I tried to stop because it was only causing pain. I couldn't. Wen all this is in your head it has to come out into your life. If it doesn't, you get crushed. I'm not going to get crushed.

My country is in ruins. So I'm a fish in a poisoned fishbowl. I'm mostly just heartsick about this. There should have been hope. This should have been a great country. But we are despised all over the world now. I was hoping to build a country and add to its literature. That's why I served in World War II, and that's why I wrote books.

The 'Grace of Kings' begins as a very dark, complicated world filled with injustices - among them the oppressed position of women - but gradually transforms into something better through a series of revolutions. But since real social change takes a long time, even by the end of the book, only the seeds of deep change have been planted.

I am an author-illustrator of children's books - and yet - I must confess I don't do the books for the kids. When I'm working on a book I'm somewhere else - at the circus - or a rustic old farm - or deep in a forest - with no thought of who might read the book or what age group it would appeal to. I write them so I can illustrate them.

For myself, I haven't been content to carry on producing books that merely strain against the conventions - as I've grown older, and realised that there aren't that many books left for me to write, so I've become determined that they should be the fictive equivalent of ripping the damn corset off altogether and chucking it on the fire.

There can be no real conflict between the two Books of the Great Author. Both are revelations made by Him to man,-the earlier telling of God-made harmonies coming up from the deep past, and rising to their height when man appeared, the later teaching man's relations to his Maker, and speaking of loftier harmonies in the eternal future.

Go back and rid the word of that book. Fill it with words before spring comes, or winter will never end for you. And I will take not only your life for the Adderhead's but your daughter's, too, because she helped you bind the book. Do you undersand, Bluejay" Why two?" asked Mo hoarsely. "How can you ask for two lives in return for one?

If you taught me to read and provided for me the same computer system as someone has provided for Stephen Hawking, I, too, would write great books. And yet you don't teach me to read, and you don't give me a computer stick I can push around with my nose to point at the next letter I wish typed. So whose fault is it that I am what I am?

While I was writing the book, I went to see Louise Brooks's most famous film, Pandora's Box, at the Tivoli in Kansas City, and it was a lovely experience. You can watch old silent films on DVD or even on YouTube, but it was a different feeling watching her up on the big screen, seeing the film the way people saw it all those years ago.

Tokyopop's been extraordinary. They approached me to do My Dead Girlfriend - Julie Taylor, one of the senior editors was a huge fan of The O.C. - asked if I'd be interested in creating a book for Tokyopop. My Dead Girlfriend was the book we all agreed upon as being the one that I would do first, and they've just embraced it completely.

A disciple once complained, "You tell us stories, but you never reveal their meaning to us." The master replied, "How would you like it if someone offered you fruit and then chewed it up for you before giving it to you?" If your heart is straight with God, then every creature will be to you a mirror of life and a book of holy doctrine.

I was one of those kids who had books on them. Before weddings, Bar Mitzvahs, funerals and anything else where you're actually meant to not be reading, my family would frisk me and take the book away. If they didn't find it by this point in the procedure, I would be sitting over in that corner completely unnoticed just reading my book.

Many books on communication are strong on theory but impractical on application. Marshall Rosenberg's instant classic is the stand-out exception. It is clear and compelling in its logic and flat-out inspiring in its inviting exposition of usable techniques and strategies. If this book is read by enough people, the world will transform.

One of the scandalous things I did was as I read them afterward I would burn them. I loved them, but for practical reasons I had to lighten the load. I burned favorites, like William Faulkner's "As I Lay Dying." There's a whole list in the back of my book. It's me,[Adolf] Hitler, [Benito] Mussolini, and Pol Pot. We're the book burners.

I'm working on different fields. One of my next books Insha'Allah will be a novel because it's important to explore the heart and imagination, the spiritual side. I've been working for twenty five years in the legal field and now I'm reaching what I want, which is an Islamic applied ethics and I'm also dealing with Muslims in the West.

When the mind is full of any one subject, that subject seems to recur with extraordinary frequency - it appears to pursue or to meet us at every turn: in every conversation that we hear in every book we open, in every newspaper we take up, the reigning idea recurs; and then we are surprised, and exclaim at these wonderful coincidences.

Writing fiction is not a profession that leaves one well-disposed toward reading fiction. One starts out loving books and stories, and then one becomes jaded and increasingly hard to please. I read less and less fiction these days, finding the buzz and the joy I used to get from fiction in ever stranger works of non-fiction, or poetry.

I think 'Comic Book: The Movie' is the apex of my career in terms of making a personal statement that has significance to me and resonates with biographical detail about not only my career, but all the people that I've worked with in my career. All of it's riddled, on- and off-camera, with people I've known and worked with for decades.

I consider books to be good for our health, and also our spirits, and they help us to become poets or scientists, to understand the stars or else to discover them deep within the aspirations of certain characters, those who sometimes, on certain evenings, escape from the pages and walk among us humans, perhaps the most human of us all.

I think that I had a very clear vision when I started writing cookbooks what I wanted it to be, and that you would open the book, that you would look at the photograph and go, that looks delicious. And then you would look at the recipe and say, I can actually make that and I can make it with ingredients I can find in the grocery store.

Most of the people dishing out judgment have no working experience of the theatre, have not written a professional play, a sketch, or even a joke; have never worked in a theatre, taken an acting class, or published any extended piece of work. They are creative virgins; everything they know about theatre is book-learned and second-hand.

The world was a terrible place, cruel, pitiless, dark as a bad dream. Not a good place to live. Only in books could you find pity, comfort, happiness - and love. Books loved anyone who opened them, they gave you security and friendship and didn't ask anything in return; they never went away, never, not even when you treated them badly.

But then, look at me. My brain is incorrectly formed, and I'm shaped like a tube. Plus, I'm an alcoholic, a "survivor" of childhood sexual abuse, was raised in a cult and have no education. So, really, if you think about it, the only thing that separates me from the guy with the stinky foot and no teeth is a book deal and some cologne.

I started work on my first French history book in 1969; on 'Socialism in Provence' in 1974; and on the essays in Marxism and the French Left in 1978. Conversely, my first non-academic publication, a review in the 'TLS', did not come until the late 1980s, and it was not until 1993 that I published my first piece in the 'New York Review.'

A few of my books, over the years, have been optioned for film. The subject matter of my books, however, is not exactly conducive to Hollywood film treatment. If and when a 'big-budget' film is ever made based on one of my books, my fans and I will more than likely loathe it because it won't be true to its source. That's almost a given.

I think my printing to this day looks like the printing right out of a comic book. Actually, I always wanted to be in a comic book. I watched cartoons when I was a kid, too, and both comics and cartoons lit fire in my imagination. This realm holds a lot of interest for me, a lot of passion for me. So to be comic-ized, yeah, that's cool.

But once a culture develops sufficiently to become skeptical, the idea of censorship becomes less attractive. To suppress a book or a picture or a sculpture or a play or a film is a terrible act of aggression against the artist who created it. This is a miming of capital punishment; it destroys the life that has been emanated by a life.

Books, says Lord Bacon, can never teach us the use of books; the student must learn by commerce with mankind to reduce his speculations to practice. No man should think so highly of himself as to think he can receive but little light from books; no one so meanly, as to believe he can discover nothing but what is to be learned from them.

You have to surrender to your mediocrity, and just write. Because it's hard, really hard, to write even a crappy book. But it's better to write a book that kind of sucks rather than no book at all, as you wait around to magically become Faulkner. No one is going to write your book for you and you can't write anybody's book but your own.

The rain was dashing in torrents against the window-panes, and the wind sweeping in heavy and fitful gusts along the dreary and deserted streets, as a party of three persons sat over their wine, in that stately old pile which once formed the resort of the Irish Members, in College Green, Dublin, and went by the name of Daly's Clubhouse.

I grew up in a completely bookless household. It was my father's boast that he had never read a book from end to end. I don't remember any of his ladies being bookish. So I was entirely dependent on my schoolteachers for my early reading with the exception of The Wind in the Willows, which a stepmother read to me when I was in hospital.

I felt that there were so many things that could go wrong, in adapting The Hunger Games , and I had this fierce desire to protect this book that she had written. At that time, I read the second book, in manuscript form, and so I saw where she was going with the series. I was able to convince Suzanne [Collins] to trust me with the books.

My own convictions as to negro slavery are strong. It has its evils and abuses...We recognize the negro as God and God's Book and God's Laws, in nature, tell us to recognize him - our inferior, fitted expressly for servitude...You cannot transform the negro into anything one-tenth as useful or as good as what slavery enables them to be.

The secret to writing sound effects is having a room you can be alone in, trying to make the sounds yourself, and seeing what comes out. It's similar to if you're writing a character talking with their mouth full: the only way I know to transcribe that is to stuff my fist in my mouth and write down what sounds I make when I try to talk.

Obviously making Peter Parker suddenly bisexual or gay wouldn't really make logical or dramatic sense. It was a hypothetical kind of question about the nature of these comic book characters and the nature of this particular character, and whether sexuality, race, any of those things makes any difference to the character of Peter Parker.

In L.A., if you're in improv, and you're on those stages, all the big agents and managers and producers are watching those shows. They're not flying to Chicago to see the show. People are booking jobs off the stages in L.A. who aren't more talented than the guys in Chicago. But the most guys book out of L.A., and the second is New York.

I don't trust books. They're all fact, no heart. And that's exactly what's pulling our country apart today. Because face it, folks, we are a divided nation. Not between Democrats or Republicans, or conservatives and liberals, or tops and bottoms. No, we are divided by those who think with their head, and those who know with their heart.

I'm much more willing to buy a novel electronically by someone I don't know. Because if halfway through I think, I don't really like this, I can just stop. I can't throw books out, even if I think they're crummy. I feel like I've got to give it to the library. I've got to loan it to somebody, or I keep it on my shelf. It's like a plant.

It's insane to be a writer and not be a reader. When I'm writing I'm more likely to be reading four or five books at once, just in bits and pieces rather than subjecting myself to a really brilliant book and thinking, "Well what's the point of me writing anything?" I'm more likely to read a book through when I take a break from writing.

Printer's ink has been running a race against gunpowder these many, many years. Ink is handicapped, in a way, because you can blow up a man with gunpowder in half a second, while it may take twenty years to blow him up with a book. But the gunpowder destroys itself along with its victim, while a book can keep on exploding for centuries.

If art is not to be life-enhancing, what is it to be? Half the world is feminine - why is there resentment at a female-oriented art? Nobody asks The Tale of Genji to be masculine! Women certainly learn a lot from books oriented toward a masculine world. Why is not the reverse also true? Or are men really so afraid of women's creativity?

You could tell from the books whether a library was meant for show or not. Books that were used had an open, interested feel to them, even if closed and neatly lined up on a shelf in strict order with their fellows. You felt as though the book took as much interest in you as you did in it and was willing to help when you reached for it.

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