Book Quotes - Page 402

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Are people drawn to each other because of the stories they carry inside? At the library I couldn’t help but notice which patrons checked out the same books. They appeared to have nothing in common, but who could tell what a person was truly made of? The unknown, the riddle, the deepest truth. I noticed them all: the ones who’d lost their way, the ones who’d lived their lives in ashes, the ones who had to prove themselves, the ones who, like me, had lost the ability to feel.

Rohan's fingertips drifted with stunning delicacy over her throat, behind her ear, pushing into the satiny warmth of her hair. "You are an interesting woman Amelia." Gooseflesh rose wherever his breath touched. "I can't f-fathom why you would think so." His playful mouth traced the wing of her brow. "I find you thoroughly, deeply interesting. I want to open you like a book and read every page." A smile curved the corners of his lips as he added huskily, "Footnotes included.

Consider the Koran... this wretched book was sufficient to start a world-religion, to satisfy the metaphysical need of countless millions for twelve hundred years, to become the basis of their morality and of a remarkable contempt for death, and also to inspire them to bloody wars and the most extensive conquests. In this book we find the saddest and poorest form of theism. Much may be lost in translation, but I have not been able to discover in it one single idea of value.

Audiences are very sophisticated and they know the nuts and bolts of the genre - certainly with horror more than others I think. But they attract lots of people, they're much derided as a genre but people go and see them and they're not all dumb. There's some very clever horror films. Stephen King gets a lot of flack for not being a proper writer because he's a horror writer, but I think he writes some brilliant books. I think it's wrong to just bin it before looking at it.

What do you have in mind after you graduate?" What I always thought I had in mind was getting some big scholarship to graduate school or a grant to study all over Europe, and then I thought I'd be a professor and write books of poems or write books of poems and be an editor of some sort. Usually I had these plans on the tip of my tongue. "I don't really know," I heard myself say. I felt a deep shock, hearing myself say that, because the minute I said it, I knew it was true.

But what I've also really liked about it is that it not only has Marvel set about... if they just were slavishly trying to bring the comic books to life, literally, I don't the movies would work, because it's different to see something on screen in three dimensions with actors, and they kind of, I believe, are constantly trying to find a way to absolutely respect the source material and at the same time, transform it into something that works and that you believe on screen.

I waste much time gaping and wondering. During a walk or in a book or in the middle of an embrace, suddenly I awake to a stark amazement at everything. The bare fact of existence paralyses me- holds my mind in mortmain. To be alive is so incredible that all I do is to lie still and merely breathe- like an infant on its back in a cot. It is impossible to be interested in anything in particular while overhead the sun shines or underneath my feet grows a single blade of grass.

As a book person and a movie person, I feel Jewish. My Dad was more Buddhist than anything, and on the West Coast I've often had the impression that Jews become Buddhists. I think, if anything, my religion has more to do with California consciousness, vibrations and energy. My wife isn't Jewish. There's nothing ceremonial going on at our house, I mean, occasionally a candle gets lit. But, definitely, my Judaism is an ongoing relationship, one that remains to be consummated.

My mother lived her life through movies and books - she read everything there was to read. And she read to me every night. I never went to sleep without her reading to me. And she fantasized about the book and she would talk about it, the place, and you would think that after she read the book and after she told you stories about it, that she had actually been there. I learned about story from her, and I learned the value of a great story, and the value of great characters.

Now, almost twenty years since my last job in book publishing, I know that there are far more socially inept people in book than in magazine publishing. At the time, however, I just didn't feel I was enough: smart enough, savvy enough, well read enough, educated enough, charming enough. Much of this was probably because I was very naive, and didn't really know how to behave in an office. This made me a terrible assistant, which in turn made me a terrible junior book editor.

I pledge to set out to live a thousand lives between printed pages. I pledge to use books as doors to other minds, old and young, girl and boy, man and animal. I pledge to use books to open windows to a thousand different worlds and to the thousand different faces of my own world. I pledge to use books to make my universe spread much wider than the world I live in every day. I pledge to treat my books like friends, visiting them all from time to time and keeping them close.

You know, I didn't write my books for critics and scholars. I wrote them for students and artists. When I hear how much my work has meant to them--well, I can't tell you how happy that makes me. That means that this great stuff of myth, which I have been so privileged to work with, will be kept alive for a whole new generation. That's the function of the artists, you know, to reinterpret the old stories and make them come alive again, in poetry, painting, and now in movies.

Here is Max De Pree at his best, and that is very good indeed. In Leading Without Power, De Pree shows us why we cannot master the how-to-dos of effective leadership without also being clear about what leaders?and followers?must be. In doing so, he not only provides us with much practical wisdom about creative leading and organizational health, he also nurtures our souls. This is a book to be savored by all who care about such things as vision, faithfulness, trust, and hope.

As with editing, I think my strength as a writer is structure. It's not a skill that's much discussed when we discuss fiction, or not as much as language or character development anyway, but it's the first thing I determine before I begin writing - not just books, but anything. I think I know how to pace a narrative well. I think I'm aware of repetition, that I try to create different kinds of sentences as often as I can. Those are all things I learned from magazine editing.

It isn't that information is exploding, but accessibility is. There's just about as much information this year as there was last year; it's been growing at a steady rate. It's just that now it's so much more accessible because of information technology. The consensus is that a Web crawler could get to a terabyte of publicly accesible HTML. A terabyte is about a million books. the UC Berkeley library has about 8 million books, and the Library of Congress has 20 million books.

The preservation of the Jew was certainly not casual. He has endured through the power of a certain ideal, based on the recognition of a Higher Power in human affairs. Time after time in his history, moreover, he has been saved from disaster in a manner, which cannot be described excepting as 'providential.' The author has deliberately attempted to write this book in a secular spirit; he does not think that his readers can fail to see in it, on every page, a higher immanence

In the learned journal, in the influential newspaper, I discern no form; only some irresponsible shadow; oftener some monied corporation, or some dangler, who hopes, in the mask and robes of his paragraph, to pass for somebody. But through every clause and part of speech of the right book I meet the eyes of the most determined men; his force and terror inundate every word: the commas and dashes are alive; so that the writing is athletic and nimble,--can go far and live long.

Mark Tobey fills his canvases with elliptical, calligraphic lines, beautiful whirls that seem at first glance to be completely abstract and to come from nowhere at all except his own subjective musing. But I shall never forget how struck I was, on visiting Tobey's studio one day, to see strewn around books on astronomy and photographs of the Milky Way. I knew then that Tobey experiences the movement of the stars and solar constellations as the external pole of his encounter.

My True Name is so well known in the Records, or Registers at Newgate, and in the Old-Baily, and there are some things of such Consequence still depending there, relating to my particular Conduct, that it is not to be expected I should set my Name, or the Account of my Family to this Work; perhaps, after my Death it may be better known, at present it would not be proper, no, not tho' a general Pardon should be issued, even without Exceptions and reserve of Persons or Crimes.

WIDE, the margin between carte blanche and the white page. Nevertheless it is not in the margin that you can find me, but in the yet whiter one that separates the word-strewn sheet from the transparent, the written page from the one to be written in the infinite space where the eye turns back to the eye, and the hand to the pen, where all we write is erased, even as you write it. For the book imperceptibly takes shape within the book we will never finish. There is my desert.

One of the greatest sins in any story is false suspense. The kind of 'suspense' that disintegrates the moment you give your reader one second to think about it. And it's an easy trap to fall into, so watch carefully for it. If your story hinges on the question, 'Will Superman be pushed so far in his battle against Lex Luthor that he'll have to kill him?', or if your big cliffhanger moment is, 'Wow, is Spider-Man really dead this time?', then I understand Food Lion is hiring.

What you and I might rate as an absolute disaster, God may rate as a pimple-level problem that will pass. He views your life the way you view a movie after you've read the book. When something bad happens, you feel the air sucked out of the theater. Everyone else gasps at the crisis on the screen. Not you. Why? You've read the book. You know how the good guy gets out of the tight spot. God views your life with the same confidence. He's not only read your story...he wrote it.

The book I am best known for, or only known for, is a novel I am prepared to repudiate: written a quarter of a century ago, a jeu d'esprit knocked off for money in three weeks, it became known as the raw material for a film which seemed to glorify sex and violence. The film made it easy for readers of the book to misunderstand what it was about, and the misunderstanding will pursue me till I die. I should not have written the book because of this danger of misinterpretation.

I have just finished my sketch of my species theory. If as I believe that my theory is true & if it be accepted even by one competent judge, it will be a considerable step in science. I therefore write this, in case of my sudden death, as my most solemn & last request, which I am sure you will consider the same as if legally entered in my will, that you will devote 400£ to its publication & further will yourself, or through Hensleigh [Wedgwood], take trouble in promoting it.

In my experience, writing a novel tends to create its own structure, its own demands, its own language, its own ending. So for much of the period in which I'm writing, I'm waiting to understand what's going to happen next, and how and where it's going to happen. In some cases, fairly early in the process, I do know how a book will end. But most of the time, not at all, and in this particular case, many questions are still unanswered, even though I've been working for months.

I'm pretty sure I can say that no one in my family ever asked Demetrie what it felt like to be black in Mississippi, working for our white family. It never occurred to us to ask. It was everyday life. It wasn't something people felt compelled to examine. I have wished, for many years, that I'd been old enough and thoughtful enough to ask Demetrie that question. She died when I was sixteen. I've spent years imagining what her answer would be. And that is why I wrote this book.

Books are just dead words on paper and it is the readers who bring the stories alive. Previously, writers wrote a book and sent it out into the world. A couple of months after publication letters from readers might arrive. And, leaving aside the professional reviews, it is really the reader's opinions that the writer needs. They vote for a book - and a writer - with their hard earned cash every time they go into a bookstore (or online - that's my age showing!) and buy a book.

I really don't watch enough TV to know about the impact. In my experience as a TV writer, I would say is the exact opposite - it's very constricted, all having to conform to a form. My sense of fiction writing is not to think about rules but to be driven by the characters and their stories. I often ask myself what's at risk here, who needs what, and how are they going to get it. There has to be a reason for the reader to stop living their own life and start reading your book.

You don’t want a general houseworker, do you? Or a traveling companion, quiet, refined, speaks fluent French entirely in the present tense? Or an assistant billiard-maker? Or a private librarian? Or a lady car-washer? Because if you do, I should appreciate your giving me a trial at the job. Any minute now, I am going to become one of the Great Unemployed. I am about to leave literature flat on its face. I don’t want to review books any more. It cuts in too much on my reading.

The rhyme always knows better than you, and leads you to places where you wouldn't otherwise have gotten to and that is absolutely the case. Leading off from formal poetry, there is something about when you pay attention to form and you allow it to have its own laws and you listen to those laws you really do end up in places you wouldn't otherwise go. Which isn't to say that I believe in following the rules when I write. I don't. Each of the forms in my books feels to me new.

Literature is a place for generosity and affection and hunger for equals - not a prizefight ring. We are increased, confirmed in our medium, roused to do our best, by every good writer, every fine achievement. Would we want one good writer or fine book less? The sense of writers being pitted against each other is bred primarily by the workings of the commercial marketplace, and by critics lauding one writer at the expense of another while ignoring the existence of nearly all.

There was - there still is - a big shortage of good Chinese-English literary translators. So for two years in London, I was stuck waiting, not writing, with several Chinese books I couldn't get translated. That's when I decided to write in English, since I had been living here and had decided to reconstruct my life here. Even if I wrote in broken English, it was better than getting bored and weary and bitter on the long queue of authors waiting to be translated by a stranger.

Sometimes, if we are faced with obstacles, be they tangible or not, such as jealousy, worldly sentiment, greed, hatred or obsession, etc., there is no other way to overcome them except by practicing more diligently. You need to read Master's books and to listen to Master's tapes more often, meditate more, do Quan Yin more, put more effort into your practice and concentrate more on the path of practice. It is safe only when you are sheltered by the supreme power, no other way.

For any true stickler, you see, the sight of the plural word “Book’s” with an apostrophe in it will trigger a ghastly private emotional process similar to the stages of bereavement, though greatly accelerated. First there is shock. Within seconds, shock gives way to disbelief, disbelief to pain, and pain to anger. Finally (and this is where the analogy breaks down), anger gives way to a righteous urge to perpetrate an act of criminal damage with the aid of a permanent marker.

Reading was only part of the thrill that a book represented. I got a dizzy pleasure from the weight and feel of a new book in my hand, a sensual delight from the smell and crispness of the pages. I loved the smoothness and bright colors of their jackets. For me, a stacked, unread pyramid of books was one of the sexiest architectural designs there was, because what I loved most about books was their promise, the anticipation of what lay between the covers, waiting to be found.

What was it that obliged Jerome to write his book, Concerning Illustrious Men? It was the common reproach of old cast upon Christians, 'That they were all poor, weak, unlearned men.' The sort of men sometime called 'Puritans' in the English nation have been reproached with the same character. . . But when truth shall have liberty to speak, it will be known that Christianity never was more expressed unto the life than in the lives of the persons that have been thus reproached.

I could stay depressed about my bad memory, but that's a negative way to live. Let's look on the bright side and list the advantages of having a bad memory. (1) You can reread a book and see a movie over and over and enjoy it as much as the first time. (2) If you make an inconvenient promise, you can pretend that you forgot about it and still be forgiven. (3) This is the most important thing: you can keep coming up with ideas without being held back by convictions or the past.

It was in 1590--winter. Austria was far away from the world, and asleep; it was still the Middle Ages in Austria, and promised to remain so forever. Some even set it away back centuries upon centuries and said that by the mental and spiritual clock it was still the Age of Belief in Austria. But they meant it as a compliment, not a slur, and it was so taken, and we were all proud of it. I remember it well, although I was only a boy; and I remember, too, the pleasure it gave me.

I love a statement by the apostle Paul, in the Book of Philippians in the Bible. I think the Corinthians had been writing to Paul, telling him that old men were chasing young women, nobody was tithing - and all that must have run Paul crazy. He wrote back and said, "If there be anything of good report, speak of these things." That's one of my principles.It's another discipline that I encourage myself to employ - to, as much as possible, say the courteous thing, and then be it.

Wherever they went the Irish brought with them their books, many unseen in Europe for centuries and tied to their waists as signs of triumph, just as Irish heroes had once tied to their waists their enemies' heads. Where they went they brought their love of learning and their skills in bookmaking. In the bays and valleys of their exile, they reestablished literacy and breathed new life into the exhausted literary culture of Europe. And that is how the Irish saved civilization.

I reminded myself: when a book lies unopened it might contain anything in the world, anything imaginable. It therefore, in that pregnant moment before opening, contains everything. Every possibility, both perfect and putrid. Surely such mysteries are the most enticing things You grant us in this mortal mere -- the fruit in the garden, too, was like this. Unknown, and therefore infinite. Eve and her mate swallowed eternity, every possible thing, and made the world between them.

Sometimes, in the course of my hopeless quest, I would pick up and dip into one of the ordinary books that lay strewn around the castle. Whenever I did, it seemed so insipid and insubstantial that I flew into a rage and hurled it at the wall after reading the first few sentences. I was spoilt for any other form of literature, and the mental torment I endured was comparable to the agony of unrequited love compounded by the withdrawal symptoms associated with a severe addiction.

The book that influenced me most is Sherlock Holmes, which teaches you the way to deal with reality: to deduct. It teaches you to put together the signs. For example, I look at a person and I see their coat, their jacket, their handwriting, their iPhone, and I am able to deduct some details about who they are, what they wear, and what they do. For many years I was fascinated with Sherlock Holmes. The series trained me to look at the world through these sharp, unforgiving eyes.

Day after day I read Freud, thinking myself to be very enlightened and scientific when, as a matter of fact, I was about as scientific as an old woman secretly poring over books about occultism, trying to tell her own fortune, and learning how to dope out the future form the lines in the palm of her hand. I don't know if I ever got very close to needing a padded cell: but if I ever had gone crazy, I think psychoanalysis would have been the one thing chiefly responsible for it.

Now, because he knows that his economic theories don't work, he's been spending these last few days calling me every name in the book. Lately he's called me a socialist for wanting to roll-back the Bush tax cuts for the wealthiest Americans so we can finally give tax relief to the middle class. I don't know what's next. By the end of the week he'll be accusing me of being a secret communist because I shared my toys in kindergarten. I shared my peanut butter and jelly sandwich.

The Bible is not a book for the faint of heart -- it is a book full of all the greed and glory and violence and tenderness and sex and betrayal that befits mankind. It is not the collection of pretty little anecdotes mouthed by pious little church mice -- it does not so much nibble at our shoe leather as it cuts to the heart and splits the marrow from the bone. It does not give us answers fitted to our small-minded questions, but truth that goes beyond what we even know to ask.

When I illustrate a cover or a book, I draw upon what the author tells me; that's how I see my responsibility as an illustrator. J.K. Rowling is very descriptive in her writing — she gives an illustrator a lot to work with. Each story is packed full of rich visual descriptions of the atmosphere, the mood, the setting, and all the different creatures and people. She makes it easy for me. The images just develop as I sketch and retrace until it feels right and matches her vision.

I began researching and writing what I intended as a book-length essay entitled Fascination and Liberation, exploring the question of whether there is a conflict between creativity and the Eastern form of enlightenment. I don't know if I'll ever finish that essay, because I had an experience, after I'd written two or three chapters, in which it seemed to me that my psychic antibodies decisively rejected Buddhism. Interestingly, the rejection felt as if it happened in Zen terms.

One of the most powerful shocks of the Middle Passage is the collapse of our tacit contract with the universe-the assumption that if we act correctly, if we are of good heart and good intentions, things will work out. We assume a reciprocity with the universe. If we do our part, the universe will comply. Many ancient stories, including the Book of Job, painfully reveal the fact that there is no such contract, and everyone who goes through the Middle Passage is made aware of it.

"Girly" can be limiting if you're told it's the only option. I don't think the solution is to get rid of the girly stuff or decide it's oppressive and get mad at a singer or book for not ACCURATELY REPRESENTING ALL WOMEN. There just needs to be more options for girls who don't identify with the girly aesthetic, and can broaden the idea of what being a girl means. Similarly, there needs to be more of that stuff that can be aesthetically girly, but feminist in the actual message.

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