Book Quotes - Page 588

Incompatibilists will tell you that a work of art has no meaning unless the artists could have chosen to create a different one, but actual artists often say things like "the book chose me" - that is, the work had to be. Some philosophers would call it "volitional necessity", and a similar case that's discussed is the case of Luther saying "here I stand, I can do no other".

I don't think we are all irrational every time we fail to see through an argument in a book, but suppose it's true about you. You are still more rational than you think you are. You are irrational in a minor way - believing a misguided theory of the nature of rationality - but rational in a major way - you respond well to probabilistic evidence as you go through the day.

If you really want you people to innovate, buy a science fiction book, tear off the covers, and tell them it's history.

There are very interesting books about these events, for instance one by a very well-known American historian named William R. Polk called Violent Politics. It's a record of what are basically guerrilla wars from the American Revolution right up through the wars in Afghanistan and Iraq.

Orwell says straight, look, in England what comes out in a free country is not very different from this totalitarian monster that I'm describing in the book. It's more or less the same. How come in a free country? He has two sentences, which are pretty accurate. One, he says, the press is owned by wealthy men who have every reason not to want certain ideas to be expressed. And second - and I think this is much more important - a good education instills in you the intuitive understanding that there are certain things it just wouldn't do to say.

You can read it in history books now, but they often suppress the fact that the U.S. government tolerated [Nazi]. It's really remarkable because they claim that [Franklin] Roosevelt was impeded by the Neutrality Act. On the other hand, he bitterly condemned a Mexican businessman for sending several guns to the Republic. If you look back, oil was the one commodity that [Francisco] Franco could not receive from the Germans and the Italians, so that was quite significant.

There's an interesting book called The Fugu Plan, written by Marvin Tokayer and Mary Swartz, which describes the circumstances when European Jews came to Japan, a semi-feudal society.

Every book that comes out, every article that comes out, talks about how - while it may have been a "mistake" or an "unwise effort" - the United States was defending South Vietnam from North Vietnamese aggression. And they portray those who opposed the war as apologists for North Vietnam. That's standard to say. The purpose is obvious: to obscure the fact that the United States did attack South Vietnam and the major war was fought against South Vietnam.

The book [Manufacturing Consent] itself is then devoted to a series of case studies, selected, we hope [with Edward Herman], to offer a fair and in fact rather severe test of those conclusions.

The book Manufacturing Consent, which I co-authored with Edward Herman, begins with a description of the structure and institutional setting of the commercial media, and then draws some rather simple-minded conclusions about what we would expect the media product to be, given these (not particularly controversial) conditions.

Peter Kropotkin was surely on the left. He was one of the founders of what is now called 'sociobiology' or 'evolutionary psychology' with his book Mutual Aid, arguing that human nature had evolved in ways conducive to the communitarian anarchism that he espoused.

There's an interesting book about that called The Third Reich and the Ivory Tower, written by Stephen H. Norwood. It has a long discussion about Harvard, and indeed the school's president, James Conant, did block Jewish faculty. He was the one who prevented European Jews from being admitted to the chemistry department - his field - and also had pretty good relations with the Nazis.

A novel is a relationship, you know? When you read a book, the writer has done half the work, and you're doing half the work. You're providing the imagination, the words are turning into pictures in your mind, there's an active relationship that's going on.

There's still nothing like a book to really make you feel like you've disappeared into a world.

In a book you can really talk about ideas and themes and characters in a deeper way than you can even on the screen.

I mean, there are things in the book you could never do in a movie.

I find a lot of writing happens when you're not actually at the computer. So I carry a notebook.

I do like having books on my shelves. I do value that life.

The biblical story of Noah can be found in the book of Genesis.

Gather knowledge... Visit galleries, museums, art and craft fairs... Read books and magazines. Take workshops. Use your senses. Experience stimulates your memory and imagination.

We both [with Suzanne Collins ] felt strongly that you wouldn't want to age up the characters, no matter the age of the actors playing the roles. They should be playing the age that they are in the [Hunger Games] books. It would let people off the hook, if you said, "Well, instead of 12 to 18, why don't you make them 18 to 25 or 16 to 21?" If you don't stay true to the horror of the fact that they are 12 to 18, you're not doing justice to the book.

I've always tried to really focus on The Hunger Games movie, knowing that, yes, these are amazing books and I would feel like a failure, if I didn't get all three of them made.

I love the Hunger Games books. Certainly, the fans are there. They're grown enormously since the beginning. When I first brought the books to Lionsgate, they had sold about 150,000 copies, which is a very good result for a YA book. And to their credit, Lionsgate was very excited and committed to the movie, from the beginning.

When you read a book [The Hunger Games], you create that tonal bandwidth. You set a tone for yourself, as you're reading it, in which everything exists within the world of your imagination. In the book, it's great when she can push a button and food comes up, as per your order.

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.