Quotes of All Topics . Occasions . Authors
I wasn't actually going to see the original film [Lord of the Ring], because I didn't think it was possible that a film could represent the books appropriately. So I was protesting, and I wasn't going to see them. And then my family all took a jaunt together, the entire family, to see the movies, and were like, "What, you're just going to stay home?" So I saw the movies and was thoroughly impressed that Peter Jackson managed to make my vision of the book come to life, as well as my sister's and my father's, and my aunt's and my uncle's, everyone's.
The old stage coach was rumbling along the dusty road that runs from Maplewood to Riverboro. The day was as warm as midsummer, though it was only the middle of May, and Mr. Jeremiah Cobb was favoring the horses as much as possible, yet never losing sight of the fact that he carried the mail. The hills were many, and the reins lay loosely in his hands as he lolled back in his seat and extended one foot and leg luxuriously over the dashboard. His brimmed hat of worn felt was well pulled over his eyes, and revolved a quid of tobacco in his left cheek.
I was in the second year of my PhD when I first had the idea - I'd recently started working as a translator, which meant firstly that I was hearing about amazing-sounding books from other translators, and also that I was getting enough of an insider's view of the publishing industry to be aware of all the implicit biases that made it so difficult for these books to ever get published, especially if they weren't from European languages (harder to discover, editors can't read the original, lack of funding programmes, authors who don't speak English).
Some people have read a few Marxist books and think themselves quite learned but what they have read has not penetrated, has not struck root in their minds, so that they do not know how to use it and their class feelings remain as of old. Others are very conceited and having learned some book-phrases, think them terrific and are very cocky; but whenever a storm blows up, they take a stand very different from that of the workers and the majority of the peasants. They waver while the latter stand firm, they equivocate while the latter are forthright.
Book critics certainly are judges who wield a tremendous amount of power in terms of whether or not a book will reach a wider audience. That's one of the reasons why I try to give coverage to books written by Latinx writers; too many worthwhile works of literature do not get the kind of coverage they deserve, and I've certainly seen that with respect to books written by writers of color. But there are some wonderful, diverse writers out there who mentor and otherwise support those voices that often have been ignored by much of the mainstream press.
Inspiration is the most valuable commodity for an artist; it is for me anyway. I can't move forward in any way if I don't feel a strong spark of excitement or creativity. Sometimes it is very difficult to get things flowing. It's important to be in a peaceful state of mind, and then I invite the spirits to come into the studio. I don't stare into a blank canvas or paper. I look through my various collections of books, toys, statues, photographs and other things, and something will trigger an idea. My studio is packed full of things that inspire me.
Silence is difficult and arduous; it is not to be played with. It isn't something that you can experience by reading a book, or by listening to a talk, or by sitting together, or by retiring into a wood or a monastery. I am afraid none of these things will bring about this silence. This silence demands intense psychological work. You have to be burningly aware - aware of your speech, aware of your snobbishness, aware of your fears, your anxieties, your sense of guilt. And when you die to all that, then out of that dying comes the beauty of silence.
I thought, 'Okay, what's going to be my edge, and how am I going to define what I'm doing differently?' Once I had that key idea of the software developer as an artist, once I had that idea, a whole bunch of other ideas flowed from that, because I realized that I need to go study the music industry, I need to study the book publishing and Hollywood and figure out how they do things, why they do them that way, and then I need to borrow, and rearrange, the things that they're doing to fit my industry so that I can invent and create this new industry.
I sat there for several moments, trying to decide how best I should respond. None of the advice I'd gotten from the books or my friends really prepared me for how to handle discussions about alternative energy sources. One of the books - one I'd chosen not to finish - had a decidedly male-centric view that said women should always make men feel important on dates. I suspected that Kristin and Julia's advice right now would have been to laugh and toss my hair - and not let the discussion progress. But I just couldn't do that. "You're wrong," I said.
I had a friend who was the King's surgeon in England. One day I asked him what makes a great surgeon. He replied, "What distinguishes a great surgeon is his knowledge. He knows more than other surgeons. During an operation he finds something which he wasn't expecting, recognizes it and knows what to do about it." It's the same thing with advertising people. The good ones know more. How do you get to know more? By reading books about advertising. By picking the brains of people who know more than you do. From the Magic Lanterns. And from experience.
The book is almost always better than the movie. You could have no better case in point than FROM HELL, Alan Moore's best graphic novel to date, brilliantly illustrated by Eddie Campbell. It's hard to describe just how much better the book is. It's like, "If the movie was an episode of Battlestar Galactica with a guest appearance by the Smurfs and everyone spoke Dutch, the graphic novel is Citizen Kane with added sex scenes and music by your favourite ten bands and everyone in the world you ever hated dies at the end." That's how much better it is.
A pair of werewolves occupied another booth. They were eating raw shanks of lamb and arguing about who would win in a fight: Dumbledore from Harry Potter books or Magnus Bane. "Dumbledore would totally win," said the first one. "He has the badass Killing Curse." The second lycanthrope made a trenchant point. "But Dumbledore isn't real." "I don't think Magnus Bane is real either," scoffed the first. "Have you ever met him?" "This is so weird," said Clary, slinking down in her seat. "Are you listening to them?" "No. It's rude to eavesdrop," said Jace.
Grampa took Mary Ellen inside away from the crowd. "Now, child, I am going to show you what my father showed me, and his father before," he said quietly. He spooned the honey onto the cover of one of her books. "Taste," he said, almost in a whisper. . . . "There is such sweetness inside of that book too!" he said thoughtfully. "Such things...adventure, knowledge and wisdom. But these things do not come easily. You have to pursue them. Just like we ran after the bees to find their tree, so you must also chase these things through the pages of a book!
There are people already sharing eBooks out there, .. and they do it simply because they love books. You don't buy a second copy of a book, cut the spine off, lay each page on a scanner, run that .tif through an OCR (Optical Character Reader), hand edit the resulting output for errors and then post it online if you don't love the book. it can up to 80 hours to turn a printed novel into an eBook. I figure if someone out there is willing to put in 80 hours of work promoting my book, then I'd prefer they do it in a way that gives a better return to me.
Go where the pleasure is in your writing. Go where the pain is. Write the book you would like to read. Write the book you have been trying to find but have not found. But write. And remember, there are no rules for our profession. Ignore rules. Ignore what I say here if it doesn't help you. Do it your own way. Every writer knows fear and discouragement. Just write.The world is crying for new writing. It is crying for fresh and original voices and new characters and new stories. If you won't write the classics of tomorrow, well, we will not have any.
Of course my books are translated into many languages. I have here, in my home, translations on my shelf of my books into forty-five different languages. Almost none of them I can read. I can read only the English editions. But, I know that a translation of a work of literature is like playing a violin concerto on the piano. You can do this. You can do this very successfully on one strict condition: never try to force the piano to produce the sounds of the violin. This will be grotesque. So, different musical instruments provide for different music.
The design of a book is the pattern of a reality controlled and shaped by the mind of the writer. This is completely understood about poetry or fiction, but it is too seldom realized about books of fact. And yet the impulse which drives a man to poetry will send another man into the tide pools and force him to try to report what he finds there.... It would be good to know the impulse truly, not to be confused by the 'services to science' platitudes or the other little mazes into which we entice our minds so that they will not know what we are doing.
I think that is what we do by preserving and telling our stories. If you don't tell your stories, other people will tell their story about you. It's important that we nurture and protect these memories. Things change. Existence means change. So, the kind of precious memories about being black for my generation won't exist for my kids' and grandkids' generations unless we preserve them through fiction, through film, through comic books, and every other form of media we can possibly utilize to perpetuate the story of the great African-American people.
Write what you want to read. So many people think they need to write a particular kind of book, or imitate a successful style, in order to be published. I've known people who felt they had to model their book on existing blockbusters, or write in a genre that's supposed to be "hot right now" in order to get agents and publishers interested. But if you're writing in a genre you don't like, or modeling yourself on a book you don't respect, it'll show through. You're your first, most important reader, so write the book that reader really wants to read.
I am sure," cried Catherine, "I did not mean to say anything wrong; but it is a nice book, and why should not I call it so?" "Very true," said Henry, "and this is a very nice day, and we are taking a very nice walk, and you are two very nice young ladies. Oh! It is a very nice word indeed! It does for everything. Originally perhaps it was applied only to express neatness, propriety, delicacy, or refinement—people were nice in their dress, in their sentiments, or their choice. But now every commendation on every subject is comprised in that one word.
All along — not only since she left, but for a decade before — I had been imagining her without listening, without knowing that she made as a poor a window as I did. And so I could not imagine her as a person who could feel fear, who could feel isolated in a roomful of people, who could be shy about her record collection because it was too personal to share. Someone who might have read travel books to escape having to live in the town that so many people escape to. Someone who — because no one thought she was a person — had no one to really talk to.
I've always enjoyed stories that take place in the future but my one disappointment was that the future books described never came. We're not on other planets, there are no flying cars, and the only robots we have in our homes just sweep the floor. So I wanted to write about a future that I thought could really happen. People ask me when I tell them the title of the book, 'Are we all dead?' The good news is, no. We're still here. And I even think the future in my book is strangely hopeful, although I'm sure there will be people who strongly disagree.
I began to read [Bible] as a critic, an in-house critic. So I got to a place where when I got to the university, I just couldn't reconcile that book and some of its points of view with stuff I was learning in my academic career. And so then you have a choice: either you give up your academic career and close your mind and become a constant fundamentalist, or you give up your religion and become a citizen of the modern world and get a modern education, or just spend the rest of your life balancing the two things together, forcing them into a dialogue.
Book lovers are thought by unbookish people to be gentle and unworldly, and perhaps a few of them are so. But there are others who will lie and scheme and steal to get books as wildly and unconscionably as the dope-taker in pursuit of his drug. They may not want the books to read immediately, or at all; they want them to possess, to range on their shelves, to have at command. They want books as a Turk is thought to want concubines - not to be hastily deflowered, but to be kept at their master's call, and enjoyed more often in thought than in reality.
On many counts, taking a boy like Rudy Steiner was robbery--so much life, so much to live for--yet somehow, I'm certain he would have loved to see the frightening rubble and the swelling of the sky on the night he passed away. He'd have cried and turned and smiled if only he could have seen the book thief on her hands and knees, next to his decimated body. He'd have been glad to witness her kissing his dusty, bomb-hit lips. Yes, I know it. In the darkness of my dark-beating heart, I know. He'd have loved it all right. You see? Even death has a heart.
"Biblical theology" refers to something more precise than theology that is faithful to the Bible. It might be helpful to draw a contrast: at the risk of oversimplification, systematic theology tends to organize theology topically and with an eye cast on its contemporary relevance, while biblical theology tends to organize the same biblical material so that it is easier to see the distinctive contribution of each biblical book and human author, and to trace the trajectories of themes across the Bible so we see how the books of the Bible hold together.
Once upon a time, an editor could try out one or two wacky books, knowing full well that their list would counterbalance any risk with a stable of best-sellers and safe bets. Nowadays, every book must earn its own bread. With low overheads and an often episodic operating status, the small independent press is nicely placed to snap up the most innovative literature going at the moment. To take the risks. Meaning that small presses are no longer just outfits set up to publish your or your friends' work. They have something genuinely important to offer.
The Deliverator belongs to an elite order, a hallow subcategory. He's got esprit up to here. Right now, he is preparing to carry out his third mission of the night. His uniform is black as activated charcoal, filtering the very light out of the air. A bullet will bounce off its arachnofiber weave like a wren hitting a patio door, but excess perspiration wafts through it like a breeze through a freshly napalmed forest. Where his body has bony extremities, the suit has sintered armorgel: feels like gritty jello, protects like a stack of telephone books.
My main influences - I loved art. I sounds a little pretentious to say I was into art but I liked drawing. I liked music; music was my outlet from day one. I was giving you an image of Ireland being this dull, grey, massive unemployment, not much going on and the future was the dull queue or - and, for me, the window of hope was music and books. So I fell in love with sort of T-Rex and David Bowie very young. They sort of said, "Hey. You don't have to live in this north side of Dublin that's all grey and depressed. You can be a spider and go to Mars."
I would model well-being by presenting myself as a high-energy person who loves what I am doing and who is thrilled to be able to offer books, tapes, and products designed to make people feel good. I would explain that they are in a store filled with this kind of energy and that creating such a space is exactly why I got into the business in the first place. If you want to feel good, then my store is the place you should visit on a regular basis. I would stay very informed about what's out there and make sure I carry many things with very high energy.
It is incumbent upon the Aghsan, the Afnan and My kindred to turn, one and all, their faces towards the Most Mighty Branch. Consider that which We have revealed in Our Most Holy Book: 'When the ocean of My presence hath ebbed and the Book of My Revelation is ended, turn your faces toward Him Whom God hath purposed, Who hath branched from this Ancient Root.' The object of this sacred verse is none other except the Most Mighty Branch (Abdu'l-Baha). Thus have We graciously revealed unto you our potent Will, and I am verily the Gracious, the All-Powerful.
Books on scientific photography with such beauty, breadth, and insight are rare. Felice Frankel's Envisioning Science is chock full of mind-boggling images and valuable information--not only for curious artists, students, and lay people, but also for seasoned researchers and photographers. The eclectic Frankel is both a scientist and photographer, and with the cold logic of the one and the inspired vision of the other, she covers an array of topics sure to stimulate your imagination and sense of wonder at the incredible vastness of the physical world.
Among the older records, we find chapter after chapter of which we can read the characters, and make out their meaning: and as we approach the period of man's creation, our book becomes more clear, and nature seems to speak to us in language so like our own, that we easily comprehend it. But just as we begin to enter on the history of physical changes going on before our eyes, and in which we ourselves bear a part, our chronicle seems to fail us-a leaf has been torn out from nature's record, and the succession of events is almost hidden from our eyes.
It is one of the many merits of this admirable biography of Proust's mother that it invites one to return to the novel with perhaps a fuller understanding of Proust's heredity, hinterland, and upbringing. . . . This fascinating book is full of interesting social and cultural observation, of information about French Jewish life, the position of Jews in society and, of course, the Dreyfus case. But it is essentially a study of one of the most remarkable and fruitful of mother-son relationships. As such it is a book that every Proustian will want to read.
Books are special, books are the way we talk to generations that have not turned up yet. The fact that we can actually, essentially communicate with the people in ancient Egypt, people in Rome and Greece, people in ancient Britain, people in New York in the 1920s who can communicate to us and change the way we think, and change the things that we believe. I think that books are special. Books are sacred. And I think that when you are selling books, you have to remember that in all the profits and loss, in all of that, you are treading on sacred ground.
It is clear that there must be difficulties for us in a revelation such as the Bible. If someone were to hand me a book that was as simple to me as the multiplication table and say, “This is the Word of God; in it He has revealed His whole will and wisdom,” I would shake my head and say, “I cannot believe it; that is too easy to be a perfect revelation of infinite wisdom.” There must be, in any complete revelation of God's mind and will and character and being, things hard for the beginner to understand; and the wisest and best of us are but beginners.
One of the stories I love is how Gutenberg’s printing press set off this interesting chain reaction, where all of a sudden people across Europe noticed for the first time that they were farsighted, and needed spectacles to read books (which they hadn’t really noticed before books became part of everyday life); which THEN created a market for lens makers, which then created pools of expertise in crafting lenses, which then led people to tinker with those lenses and invent the telescope and microscope, which then revolutionized science in countless ways.
Philosophy is not a body of knowledge to impart to someone, that's why reading philosophy books isn't always the best way of learning philosophy. Philosophy is really more the process of rational engagement, rational reflection with a diversity of views and ideas and opinions and trying to sort of reason your way through to a more reflective position. I think if you look at it that way, philosophizing is to some extent some small way a part of almost everyone's lives although they don't recognize it as such and a lot of people are embarrassed about it.
I wrote as a kid, but I never wanted to be a writer particularly. I had been drawing and painting for years and loved that. And I meditate, and one time when I was meditating, I started thinking, "Gee Gail, you love stories -- you read all the time. How come you never tell yourself a story?" While I should have been saying my mantra to myself, I started telling myself a story. It turned out to be an art appreciation book for kids with reproductions of famous artworks and pencil drawings that I did. I tried to get it published and was rejected wholesale.
Lawrence Hill, a cultural and spiritual descendant of West African griots, has used his vast storytelling talents to create an epic story that spans three continents. The Book of Negroes recites the pain, misery and liberation of one African woman, Aminata Diallo, who was stolen from her homeland and sold into American slavery. Through Aminata, Hill narrates the terrifying story of slavery and puts at the centre a female experience of the African Diaspora. I wept upon reading this story. The Book of Negroes is courageous, breathtaking, simply brilliant.
If you read the biographies of people who have written good books, you often see the point where they suddenly come into themselves, and those weeks in the spring of 1997 were when I came into myself as a writer. They feel like some of the best weeks of writing I’ll ever have. The discovery that I could write better about something as trivial as an ordinary family dinner than I could about the exploding prison population of the United States, and the corporatization of American life, and all the other things I’d been trying to do, was a real revelation.
If everything is made so obvious that it asks nothing of the readers, then after a while, their ability to respond is atrophied. And they grow up as young people unable to take anything from a printed page, or they become bored because they haven't discovered the nuances, the differences of opinion, the differences of approach between one author and another. Children can be trusted to skip what they don't like in a book. That's perfectly all right. But to have it all reduced to the supposedly twelve-year-old mind of the adult public is what I object to.
God's on the outside looking in. He doesn't have any legal entree into the earth. The thing don't belong to Him. You see how sassy the Devil was in the presence of God in the book of Job? God said, 'Where have you been?' Wasn't any of God's business. He [Satan] didn't even have to answer if he didn't want to ... God didn't argue with him a bit! You see, this is the position that God's been in Might say, 'Well, if God's running things He's doing a lousy job of it.' He hadn't been running 'em, except when He's just got, you know, a little bit of a chance.
The information that was contained in a cathedral was based upon a common culture - a common Christian culture - and the elements were chosen for a common symbolic meaning. Someone who knew everything that was represented in a cathedral had a sort of encyclopedia - you can indeed call it that - but it was a selective encyclopedia, like encyclopedias back when they were books and the people writing them were supposed to be specialists in their field. I think today the problem is that people don't know how to choose between different kinds of information.
If you do a black character or a female character or an Asian character, then they aren't just that character. They represent that race or that sex, and they can't be interesting because everything they do has to represent an entire block of people. You know, Superman isn't all white people and neither is Lex Luthor. We knew we had to present a range of characters within each ethnic group, which means that we couldn't do just one book. We had to do a series of books and we had to present a view of the world that's wider than the world we've seen before.
Once we know the plot and its surprises, we can appreciate a book's artistry without the usual confusion and sap flow of emotion, content to follow the action with tenderness and interest, all passion spent. Rather than surrender to the story or the characters - as a good first reader ought - we can now look at how the book works, and instead of swooning over it like a besotted lover begin to appreciate its intricacy and craftmanship. Surprisingly, such dissection doesn't murder the experience. Just the opposite: Only then does a work of art fully live.
Most of life is so dull that there is nothing to be said about it, and the books and talks that would describe it as interesting are obliged to exaggerate, in the hope of justifying their own existence. Inside its cocoon of work or social obligation, the human spirit slumbers for the most part, registering the distinction between pleasure and pain, but not nearly as alert as we pretend. There are periods in the most thrilling day during which nothing happens, and though we continue to exclaim, "I do enjoy myself", or , "I am horrified," we are insincere.
a novelist's chief desire is to be as unconscious as possible. He has to induce in himself a state of perpetual lethargy. He wants life to proceed with the utmost quiet and regularity. He wants to see the same faces, to read the same books, to do the same things day after day, month after month, while he is writing, so that nothing may break the illusion in which he is living - so that nothing may disturb or disquiet the mysterious nosings about, feelings around, darts, dashes, and sudden discoveries of that very shy and illusive spirit, the imagination.
Life is not bad, and it doesn't look more real if it's ugly or it's gritty. Think of your own life. Most of what's in your own life, hopefully, is exactly that. Friendship and love and passion for movies and cartoons and comic books, whatever it is that you love. Most of the way we live our lives involves looking for pleasure and beauty and happiness and affection. Real artists don't use reflexive clichés about things. It's about honoring the reality of people's lives, which defies conventions and clichés and expectations. People are interesting, period.
I'm not much of a self-promoter or anything. It's not something I feel comfortable doing. But sometimes I would get frustrated, I'd think, "You know, this is a good book, how come no one is paying attention to it?" So it's nice to have some recognition. I don't write to put it in a drawer, I hope that people see it. But what am I willing to do for that? I struggle with that a little bit. I try to be accommodating, but I'm pretty much a loner. I'll say this, and it'll sound like bullshit, but it's not: I don't really pay attention to this stuff very much.
