Quotes of All Topics . Occasions . Authors
I think that most of my books are part of some process of self-education, often about the places I go to. Most of all, they are about the peculiar tension between institutional loyalty and loyalty to oneself; the mystery of patriotism, for a Brit of my age and generation, where it runs, how it should be defined, what it's worth and what a corrupting force it can be when misapplied. All that stuff is just in me and it comes out in the characters. I don't mean to preach, but I know I do, and I'm a very flawed person. It's quite ridiculous.
Being the owner of Dachshunds, to me a book on dog discipline becomes a volume of inspired humor. Every sentence is a riot. Some day, if I ever get a chance, I shall write a book, or warning, on the character and temperament of the Dachshund and why he can't be trained and shouldn't be. I would rather train a striped zebra to balance an Indian club than induce a Dachshund to heed my slightest command. When I address Fred I never have to raise either my voice or my hopes. He even disobeys me when I instruct him in something he wants to do.
There are two kinds of people in this world: the ones who don't cook out of and have NEVER cooked out of THE I HATE TO COOK BOOK, and the other kind...The I HATE TO COOK people consist mainly of those who find other things more interesting and less fattening, and so they do it as seldom as possible. Today there is an Annual Culinary Olympics, with hundreds of cooks from many countries ardently competing. But we who hate to cook have had our own Olympics for years, seeing who can get out of the kitchen the fastest and stay out the longest.
Others, again, give us the mere carcass of another man’s thoughts, but deprived of all their life and spirit, and this is to add murder to robbery. I have somewhere seen it observed, that we should make the same use of a book, as a bee does of a flower; she steals sweets from it, but does not injure it; and those sweets she herself improves and concocts into honey. But most plagiarists, like the drone, have neither taste to select, nor industry to acquire, nor skill to improve, but impudently pilfer the honey ready prepared from the hive.
America was born a Christian nation. America was born to exemplify that devotion to the elements of righteousness, which are derived from Holy Scripture. Ladies and gentlemen, I have a very simple thing to ask of you. I ask of every man and woman in this audience that, from this night on, they will realize that part of the destiny of America lies in their daily perusal of this great Book of revelations. (The Bible) That if they would see America free and pure they will make their own spirits free and pure by the baptism of Holy Scripture.
I might spend 100 pages trying to get to know the world I'm writing about: its contours, who are my main characters, what are their relationships to each other, and just trying to get a sense of what and who this book is about. Usually around that point of 100 pages, I start to feel like I'm lost, I have too much material, it's time to start making some choices. It's typically at that point that I sit down and try to make a formal outline and winnow out what's not working and what I'm most interested in, where the story seems to be going.
In the circle where I was raised, I knew of no one knowledgeable in the visual arts, no one who regularly attended musical performances, and only two adults other than my teachers who spoke without embarrassment of poetry and literature — both of these being women. As far as I can recall, I never heard a man refer to a good or a great book. I knew no one who had mastered, or even studied, another language from choice. And our articulate, conscious life proceeded without acknowledgement of the preceding civilisations which had produced it.
My husband, William Sutcliffe, the writer, is my first reader and in many ways my most important. That initial reading of the manuscript is crucial and irreplaceable and you want them to approach it as someone in a bookshop might, not knowing much about it. So I've got into this pattern of not telling Will anything about the book I'm working on. He often knows nothing about the book I'm working on at all until I give him the whole manuscript and ask him to read it. The book I'm working on at the moment he knows nothing about. No one does.
When I get nervous, I go to the library and hang around. The libraries are filled with people who are nervous. You can blend in with them there. You're bound to see someone more nervous than you are in a library. Sometimes the librarians themselves are more nervous than you are. I'll probably be a librarian for that reason. Then if I'm nervous on the job, it won't show. I'll just stamp books and look things up for people and run back and forth to the staff room sneaking smokes until I get hold of myself. A library is a great place to hid.
The text moves like a small crustacean with compound eye and complex nervous system; throbbing, involuted, it becomes a parasite on a different body, animal, using ‘filiform protrusions through which it sucks the vital juices of its host.’ Parasite or creature in mutation on the shore, torrid / delirium: mordant mortality, systematic competition the narrator against the I, leaking gas, a lapse of memory against a promise, an inset in a book. A muscular, involuntary bulging in the breast, circling all its inner surface: mesoblast: visceral.
At a tender age, I commandeered half a quire of foolscap from my father's desk and sat down to write a book. ...I had observed onprinted fly leaves the words "By the author of, etc." ...So under the title of my prospective work I wrote: By the author of "Les Miserables," "The Woman in White," "Dombey and Son," "Tom Brown's Schooldays" and "Our Life in the Highlands," the last-named being an opus of good Queen Victoria. I had not read all these works but they existed on our bookshelves, and I hoped to produce something worthy of comparison.
Tayyip Erdogan wants to go beyond George W. Bush by making critical journalism and critics in the academy illegal. What will be the difference between him and a military government? Very little. I read his remarks on the effectiveness of Adolf Hitler as Chancellor of Germany. Well, yes. But then the AKP would have to ban all other political parties, close down all critical newspapers, burn the books critical of the regime and gas the Kurds to death...the final solution of the Kurdish 'problem.' Somehow I don't think he is about to do that.
The strange and wonderful Book of Job treats of the same subject as we are discussing; its contents are a fiction, conceived for the purpose of explaining the different opinions which people hold on Divine Providence. ...This fiction, however, is in so far different from other fictions that it includes profound ideas and great mysteries, removes great doubts, and reveals the most important truths. I will discuss it as fully as possible; and I will also tell you the words of our Sages that suggested to me the explanation of this great poem.
There is a warning. The path of God-exalting joy will cost you your life. Jesus said, “Whoever loses his life for my sake and the gospel’s will save it.” In other words, it is better to lose your life than to waste it. If you live gladly to make others glad in God, your life will be hard, your risks will be high, and your joy will be full. This is not a book about how to avoid a wounded life, but how to avoid a wasted life. Some of you will die in the service of Christ. That will not be a tragedy. Treasuring life above Christ is a tragedy.
"Patience, grasshopper," I counseled. "You don't want to seem overeager." "Right, that's why I said tomorrow," he said. "I want to see you again tonight. But I'm willing to wait all night and much of tomorrow." I rolled my eyes. "I'm serious," he said."You don't even know me," I said. I grabbed the book from the center console. "How about I call you when I finish this?""But you don't even have my phone number," he said."I strongly suspect you wrote it in this book."He broke out into that goofy smile. "And you say we don't know each other."
What shop did this book come from? she asked. Her father was looking worried at the cooker. He always got rice wrong. I don't know, Brooksie, he said, I don't remember. That was unimaginable, not remembering where a book has come from! and where it was bought from! That was part of the whole history, the whole point, of any book that you owned! And when you picked it up later in the house at home, you knew, you just knew by looking and having it in your hand, where it came from and where you got it and when and why you'd decided to buy it.
I always knew from the beginning that this was the only way to write Then We Came To The End - that it had to be in first - person plural if it was going to illustrate how the individual becomes part of the collective. I had no interest in writing the book in a more conventional voice. It goes back to that fascination I had with telling a story in multiple ways. It was the only choice I gave myself, really - I said "This is it, pal. If you can't tell a story this way, you're going to have to abandon the book. Write it this way or give up."
I am a product of endless books. My father bought all the books he read and never got rid of any of them. There were books in the study, books in the drawing room, books in the cloakroom, books (two deep) in the great bookcase on the landing, books in a bedroom, books piled as high as my shoulder in the cistern attic...In the seemingly endless rainy afternoons I took volume after volume from the shelves. I had always the same certainty of finding a book that was new to me as a man who walks into a field has of finding a new blade of grass.
Much of the way books get classified has to do with marketing decisions. I think it's more useful to think of literary books and sci-fi/fantasy books as existing on a continuum. To oppose them, to suggest that one category excludes the other, always feels bogus to me. The great Leonard Michaels line is "I wanted proximity to darkness, strangeness"? That's what I'd say I want from a book, regardless of where it falls on the fantastical spectrum - that suspense connected to a particular human character, rather than just some mechanized plot.
The copy of an ad is merely a punning gag to distract the critical faculties while the image of the product goes to work on the hypnotized viewer. Those who have spent their lives protesting about 'false and misleading ad copy' are godsends to advertisers, as teetotalers are to brewers, and moral censors are to books and films. The protesters are the best acclaimers and accelerators. Since the advent of pictures, the job of the ad copy is as incidental and latent as the 'meaning' of a poem is to a poem, or the words of a song are to a song.
Books come at my call and return when I desire them; they are never out of humor and they answer all my questions with readiness. Some present in review before me the events of past ages; others reveal to me the secrets of Nature. These teach me how to live, and those how to die; these dispel my melancholy by their mirth, and amuse me by their sallies of wit. Some there are who prepare my soul to suffer everything, to desire nothing, and to become thoroughly acquainted with itself. In a word, they open the door to all the arts and sciences.
The violence in the Executioner books is merely stage-dressing for dramatizing the commitment and dedication Bolan has to his ideals and the lengths to which he will go to honor them. We can learn this message of love and commitment and carry it into our own lives without the violence and bloodshed, and of course it is this wish that fuels the writing. I do not want my readers to pick up a gun and follow Bolan's example; I want them to be stirred by his commitment and to find ways to meet the same challenges without resort to violent means.
I could teach an eighth-grader in twenty minutes how to brief a case. Yet for all three years in most law schools the casebook method of learning the law is still in. The matriculating young lawyer is as qualified to represent a client with the education he has suffered through as a doctor who has never seen a patient, who has never held a scalpel in his hand and who learns surgery by having read text books about it and becomes skilled in surgery, if ever, after having stacked up piles of corpses who represent his pathetic learning process.
Cath ran her fingers along the cover, over the raised gold type. Then someone else ran right into her, pushing the book into Cath's chest. Pushing two books into her chest. Cath looked up just as Wren threw an arm around her. "They're both crying," Cath heard Reagan say. "I can't even watch." Cath freed an arm to wrap around her sister. "I can't believe it's really over," she whispered. Wren held her tight and shook her head. She really was crying, too. "Don't be so melodramatic, Cath," Wren laughed hoarsely. "It's never over... It's Simon.
Keats's odes are among my favorite poems ever. As are Neruda's. So yes, I think my poems are odes, though I really just see those titles as ways of more or less orienting the poem. I've never thought about this until now, but I guess you could say that one effect of all the titles, their pervasiveness in the book, might be to once again, as so many other things do, put into question the meaning of the word "for," which I suppose is one of the great human questions: what is all this for? Why, and for whom, are we doing whatever we are doing?
The problem is there are people in this country - maybe 10%, I don't know what the number, maybe 20% on a bad day - who want this President to have an asterisk next to his name in the history books, that he really wasn't President....They can't stand the idea that he is President, and a piece of it is racism. Not that somebody in one racial group doesn't like somebody in another racial group. So what? It is the sense that the white race must rule. That's what racism is. And they can't stand the idea that a man who is not white is President.
If no one speaks out for [young readers], if they don’t speak out for themselves, all they’ll get for required reading will be the most bland books available. Instead of finding the information they need at the library, instead of finding novels that illuminate life, they will find only those materials to which nobody could possibly object... In this age of censorship I mourn the loss of books that will never be written, I mourn the voices that will be silenced — writers’ voices, teachers’ voices, students’ voices — and all because of fear.
Brian Myers takes a fresh approach. He largely ignores what the regime tells the outside world about itself, but concentrates instead on what North Koreans themselves are supposed to believe, paying special attention to the North Korean narratives and mass culture, including movies and television shows. (...) There are few books that can give the world a peek into the Hermit Kingdom. The Cleanest Race provides a reason to care about how those in North Korea see themselves and the West. It is possibly the best addition to that small library.
I try to teach a modernist and postmodernist position. On one hand, if you're a painter, you need to know the history of painting. But I'm also interested in the moment we live in. I love television, and movies, and books, and music. So I also think of art as this cultural production along with all this other stuff that's happening. So that's a kind of postmodern, not media-specific, but the times, what is your art relevant to this moment we live in versus media specificity? That's my teaching philosophy, both of those things are important.
Yesterday I saw a child wearing a T-shirt that said, "If you love me, don't feed me junk food." I was delighted to see this, but I also know how difficult it can be to feed our children well, particularly when the foods that are most convenient and the most heavily advertised are often the ones we should avoid. Joel Fuhrman's new book is a blessing, because it makes it so much easier. It is excellent, and full of clarity, wisdom, and guidance you can trust. It can indeed give you the power to shape your child's health destiny - John Robbins
I grew up in the midst of poverty but every black kid that I knew could read and write. We have to talk about the fact that we cannot educate for critical consciousness if we have a group of people who cannot access Fanon, Cabral, or Audre Lorde because they can’t read or write. How did Malcolm X radicalize his consciousness? He did it through books. If you deprive working-class and poor black people of access to reading and writing, you are making them that much farther removed from being a class that can engage in revolutionary resistance.
This is a column collection, or as one colleague called it, "history in real time," recounting my perspective on the highs and lows of this presidency from an African-American perspective. More than simply a column collection, the book has a substantial introduction that frames the [Barack] Obama presidency, explores the way Obama was treated by the political establishment and also how this first black president treated "his" people. In the epilogue, I use numbers to tell the story of African-American gains and losses during this presidency.
Metaphor isn't just a fancy turn of speech. It shapes our thoughts and feelings, reaches out to grasp new experience, and even binds our five disparate senses. James Geary's fascinating and utterly readable I is an Other brings the news on metaphor from literature and economics, from neuroscience and politics, illuminating topics from consumer behavior to autism spectrum disorders to the evolution of language. As a writer, as a teacher, and as someone just plain fascinated by how our minds work, I've been waiting years for exactly this book.
Shut the door, they're coming through the window, shut the window, they're coming through the door," are the words to an old song. They fit my lifestyle with newly arriving butcher/censors every month. Only six weeks ago, I discovered that, over the years, some cubby-hole editors at Ballantine Books, fearful of contaminating the young, had, bit by bit, censored some 75 separate sections from the novel. Students, reading the novel which, after all, deals with censorship and book-burning in the future, write to tell me of this exquisite irony.
The Christians and the Jews do not believe that the Bible is the verbatim words of God. In fact it is clear that the books of the Bible are written by men - allegedly inspired men - but humans nonetheless. God in the Bible is spoken of in third person. This gives the believer a degree of caution. If the writers of the Bible were humans and humans are fallible, the Bible should not be taken literally. It is possible to interpret it, use one's logic to understand it in the light of science and adapt its teachings to meet the needs of the time.
Its subtlest, most appealing accomplishment may be in how other characters respond to Gregorius' precipitous swerve onto the spiritual path. (...) That said, Night Train to Lisbon is a very long, ambitious book that's feverishly overwritten. (...) Think of W.G. Sebald recast for the mass market: stripped of nuance, cooked at high temperature and pounded home, clause after clause. Some of the clumsiness derives from Barbara Harshav's inelegant translation -- we're often aware of her struggle -- but she can't be blamed for the pervasive bloat.
When I am working a book, I go through my library and take a look through some of the great cartoonists of the past, like Cliff Sterrett, who did "Polly and Her Pals," or Winsor McCay who did "A Little Nemo in Slumberland," and Herriman - and I just looked through these guys and looked for somebody to steal. You know, looked for who I could swipe, or turn into - who's work I will turn into my work. And I still use, after all these years, these artists as inspirations. So, here in my eighties, I go back to when I was eight for my inspiration.
I heard somebody open and shut the gate to the barn lot, but I didn't look around. If I didn't look around it would not be true that somebody had opened the gate with the creaky hinges, and that is a wonderful principle for a man to get hold of... What you don't know know don't hurt you, for it ain't real. They called that Idealism in my book I had when I was in college, and after I got hold of that principle I became an Idealist... If you are an Idealist it does not matter what you do or what goes on around you because it isn't real anyway.
For me, a lot of Discipline was very personal writing, like writing through and working out being inside this gendered body and also the compulsions of the body, the muting of the mind as driven by the body. My father had died some years ago so he haunts the book too, just floats through it ghost-like. But, the writing of every book is different for me. They are so like living creatures, these books, so I don't know what's carried over into the writing of the next things - except maybe that I'm best when I make my writing practice a routine.
One can think of a secretary actively operating a filing system, of a librarian actively cataloguing books, of a computer actively sorting out information. The mind however does not actively sort out information. The information sorts itself out and organises itself into patterns. The mind is passive. The mind only provides an opportunity for the information to behave in this way. The mind provides a special environment in which information can become self-organising. This special environment is a memory surface with special characteristics.
The Bible is a wonderful book. It is the truth about the Truth. It is not the Truth. A sermon taken from the Bible can be a wonderful thing to hear. It is the truth about the truth about the truth. But it is not the truth. There have been many books written about the things contained in the Bible. I have written some myself. They can be quite wonderful to read. They are the truth about the truth about truth about the Truth. But they are NOT the Truth. Only Jesus Christ is the Truth. Sometimes the Truth can be drowned in a multitude of words.
When I went to an Aspen seminar on "American Scriptures" - the bicentennial of the Declaration and they discussed the preamble and the Gettysburg Address and much more, but not Lincoln's Second Inauguration, I challenged that omission and they said find something on it and to my astonishment, at that time, there was no book or long article that really did it. So I wrote one that attempted to do it justice. Although obscurely published, that essay got a nice bounce. Somehow David Donald saw it, and in his notes to his biography singled it out.
Once I'd worked out that I couldn't possibly expect people to enjoy a monstrous, 3000-page book, I realised I could in fact create a labyrinth of a story with four different points of entry. But what interested me was creating something that would rearrange itself every time you read one of the other books. So depending on which order you read them, the implications and angles would change. To get that right, each one of the books had to have its own personality and texture -- even though they are connected, they are very different creatures.
We ask ourselves all kinds of questions, such as why does a peacock have such beautiful feathers, and we may answer that he needs the feathers to impress a female peacock, but then we ask ourselves, and why is there a peacock? And then we ask, why is there anything living? And then we ask, why is there anything at all? And if you tell some advocate of scientism that the answer is a secret, he will go white hot and write a book. But it is a secret. And the experience of living with the secret and thinking about it is in itself a kind of faith.
Paul Otremba’s remarkable first book, The Currency, is an intriguing foray into lyric epistemology that tries to come to ter ms with the implacable, paradox-ridden nature of knowledge and experience. These are deeply felt, deeply meditated poems guided by a sensibility highly attenuated to the physical world. In their openness to friendship and love and in their fearless directness, they remind me of the work of Larry Levis and Jon Anderson. Like Levis and Anderson, Otremba promises to be an influential and important voice for his generation.
I try to weave a secret into each plot. It's the thread that holds the rest of the story fabric together. In fact, it's the reason for the story. I hint at the secret early on. Immediately I want the reader to get the feeling that something here isn't quite right. It helps maintain the suspense if a puzzling element is introduced in the first few pages of the book, but the answer isn't revealed until the final ones. Hopefully, readers want to know what the heck is really going on, and it's the desire to find out that keeps them turning pages.
Some people spend their entire lives devoted to a religion that claims to be the ‘right’ religion... they often deny scientific evidence that contradicts their archaic holy books, they sometimes oppress those who disagree with them, and they always do what they do in the name of an unknowable deity... but sometimes, they wake up. Occasionally, they realize that all religions are man-made and that none of them are ‘right.’ And when they do, they can live happy and fulfilling lives without dogma and without anticipating or fearing an afterlife.
The book it reminded me of most is Henry Miller’s The Books in My Life. Like Miller, Shields manages to convey his affection for and admiration of literature, and that, the enthusiasm and admiration, can revitalize the reader’s love for the art form. I’m grateful for How Literature Saved My Life because the book has made me think again – and for the first time in a while – 'Well, what is it we do when we read?' It’s a damned annoying question, but it needs to be asked now and then, and Shields has asked it in a way I find resonant and moving.
This book is unique. I know of no other which so artfully tackles two of the greatest mysteries of modern science, quantum mechanics, and consciousness. It has long been suspected that these mysteries are somehow related: the authors’ treatment of this thorny and controversial issue is honest, wide-ranging, and immensely readable. The book contains some of the clearest expositions I have ever seen of the strange and paradoxical nature of the quantum world. Quantum Enigma is a pleasure to read, and I am sure it is destined to become a classic.
Publishing is the only industry I can think of where most of the employees spend most of their time stating with great self-assurance that they don't know how to do their jobs. "I don't know how to sell this," they explain, frowning, as though it's your fault. "I don't know how to package this. I don't know what the market is for this book. I don't know how we're going to draw attention to this." In most occupations, people try to hide their incompetence; only in publishing is it flaunted as though it were the chief qualification for the job.
