Book Quotes - Page 556

Just friends, just friends. Standing there in the bookstore, watching Seth walk away, I half wondered how anyone could still use that line. But I knew why, of course. It was used because people still believed it. Or at least they wanted to.

Too bad you got so bogged down in books. You've got the spirit of a warrior.

Not in books only, nor yet in oral discourse, but often also in words there are boundless stores of moral and historic truth, and no less of passion and imagination laid up, from which lessons of infinite worth may be derived.

As hardly anything can accidentally touch the soft clay without stamping its mark on it, so hardly any reading can interest a child, without contributing in some degree, though the book itself be afterwards totally forgotten, to form the character.

As the field of coaching finds its way to becoming a mature discipline, James Flaherty's dedicated field research, study, and sound articulation offers a definitive ground and a sensibility of genuine care. At the core this book offers a way of thinking about human beings that makes action and practice central to learning. This is a no-nonsense, generous, pragmatic book that belongs on the shelf every coach, novice or veteran.

The thing about rigging is, you can learn it if you become a master rigger but there's no book on rigging.

Librarians lend people books from the library. The best librarians are children's book librarians.

When I choose the title [for my book], which was my favorite title, I felt sure there was going to be a dozen books maybe with that name already because it's so obvious to me that that's the message. I was surprised it hasn't been the title of a single book. Well, there is a Shel Silverstein children's book called Falling Upwards. But no one has chosen Falling Upward as a title and I'm very happy it's right on the cover.

Whether it's viewers of the show or readers of my columns and books, I'm consistently impressed with their wit, humor and insight. That goes for about 95 percent of the audience. The other five percent are why the 'Delete' option and restraining orders were invented.

The first book by an African American I read was Carl T. Rowan's memoir, Go South to Sorrow. I found it on the bookshelf at the back of my fifth-grade classroom, an adult book. I can remember the quality of the morning on which I read. It was a sunlit morning in January, a Saturday morning, cold, high, empty. I sat in a rectangle of sunlight, near the grate of the floor heater in the yellow bedroom. And as I read, I became aware of warmth and comfort and optimism. I was made aware of my comfort by the knowledge that others were not, are not, comforted. Carl Rowan at my age was not comforted.

I started thinking about my relationship with my students; I'm this guy who comes in from book - and movie - land and descends on angel wings into their classroom.

If you're writing a book that takes place in New York in the moment, you can't not write about 9-11; you can't not integrate it. My main character's view is the Statue of Liberty and the Trade Center. It doesn't have to take over, but it has to be acknowledged.

I can never read this book, just like I can never see a movie that I wrote a screenplay for. I can read it and see it physically, but I can't accurately judge it. I'm too close to it. If I read it ten times I'll have ten different reactions.

I have a penchant for fresh notebooks and mechanical pencils. It seems every time I go to the store, I buy a new notebook. I have dozens of them just sitting around.

At one time in my career, Barnes and Noble bookstores categorized my books as religious fiction.

People are looking for inspiration, and my books are sometimes the vehicles of what people are looking for.

People are like books, unknown until they are opened.

There's no such thing as the greatest album ever. There's no greatest book, greatest human, greatest movie. At a push, the closest record to perfection I know is What's Going On by Marvin Gaye or The Beach Boys' Pet Sounds but possibly because they are widely recognized as such.

Basically, I've reached the point where I've lost any direct relationship to any of the editors I used to have. I suspect I'll have to pay to publish this myself, and I think a lot about about putting out fifty copies. I used to think about hogwash like my legacy and silly things like that. But I feel like if I never have another book out, I've done okay, I've had like twelve or thirteen little books, and I won't be upset about this on my death bed.

You can't just plain die. You got to do it by the book.

He stood there for a moment looking around the silent room, shaking his head slowly. All these books, he thought, the residue of a planet’s intellect, the scrapings of futile minds, the leftovers, the potpourri of artifacts that had no power to save men from perishing.

I wanted to write a book that showed how the subjectification of the "the murderer" has changed little in over a hundred years, and to argue that this "exceptional figure" serves a conservative function in modern culture that bears closer interrogation than it has commonly received.

Marcus Buckingham has a keen sense of what it takes to excel, and he backs his insights with an impressive body of in-depth interviews and research. This is an important book for anybody who aspires to effective leadership, managing, or any kind of enduring individual achievement.

Unlike television, reading does not swallow the senses or dictate thought. Reading stimulates the ecology of the imagination. Can you remember the wonder you felt when first reading The Jungle Book or Tom Sawyer or Huckleberry Finn? Kipling’s world within a world; Twain’s slow river, the feel of freedom and sand on the secret island, and in the depths of the cave?

My feeling about fiction, regardless of the genre, is that it is meant to be a representation of life. I want my books to give a whole spectrum of experiences to my readers. Not just fear or terror or revulsion, but excitement, laughter, pain, sorrow, desire, etc.