Book Quotes - Page 609

The Book of Air and Shadows' was born during a conference with an intellectual property lawyer on a particular afternoon in November of 2003.

If you're a prostitute, this is your day: You party, you have customers until four or six in the morning, then you sleep. You wake at noon, watch soaps on TV, take two or three hours to fancy up yourself, and then you start waiting for customers. That's your life. And some days no customers come. There's no party. There's nothing. You sit there and wait. If you're educated you can read books, but in Bangladesh and most other places you watch TV or listen to music or cook.

The NSA is not looking through people's address books and Visa bills and violating the rights of average citizens. That's not what the NSA does.

I was trying to write a straightforward book of sociological analysis, or at least cultural criticism, and I failed.

I hope [white brothers and sisters] read this book [Tears we cannot stop] and engage with it, but other white people have a better chance of speaking more directly to the white folk they know, because they're less likely to be subject to ridicule. They're insiders, so to speak.

I have written 5 books that address major figures in our culture: books on Malcolm X, Martin Luther King Jr., Tupac Shakur, Marvin Gaye and Bill Cosby. But even in the books that take up major figures, I hope to provoke conversation, insight and understanding about these personalities by providing new, fresh and vital information and analysis about them.

I have written 13 books, full of my ideas about a variety of issues - from black women, to hip-hop culture, to the civil rights struggle. Even when I address such figures as Tupac Shakur and Bill Cosby, my ideas are quite evident.

I have argued tirelessly, nearly endlessly, in so many books, about the need for the social, the economic reconstruction of society. The demand that people be present themselves, that they contribute to the reorganization of society, that they own up to their own complicity in a system from which they derive benefit and advantage, often without acknowledgement, and the discomfort, the uncomfortable way in which that must be acknowledged.

I spent a lot of time developing in books why worshipping separately actually impacts inequality, economic, social, on and on. So I really do believe there are huge advantages to being together even though it's difficult, even though we have a lot to learn.

In art school, I started to see Pettibon in magazines, and I figured it out backward. I was into the idea that someone could show work in galleries while making album covers and photocopied books.

This Is Not a Novel memorializes the treasures and detritus of one man's singularly cultured mind. (...) If you don't know Writer's work at all, try This Is Not a Novel. There may be some doubt about exactly what kind of book it is, but not that it's altogether wonderful.

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.

The world is a library of strange and wonderful books, and sometimes we just need to go prowling through the stacks.

The thing I can't remember is, what came first? Us or the book?

I encourage the translators of my books to take as much license as they feel that they need. This is not quite the heroic gesture it might seem, because I've learned, from working with translators over the years, that the original novel is, in a way, a translation itself.

She is, above all else, tired; she wants more than anything to return to her bed and her book. The world, this world, feels suddenly stunned and stunted, far from everything.

Here's a secret. Many novelists, if they are pressed and if they are being honest, will admit that the finished book is a rather rough translation of the book they'd intended to write.

Jenny Offill's Dept. of Speculation resembles no book I've read before. If I tell you that it's funny, and moving, and true; that it's as compact and mysterious as a neutron; that it tells a profound story of love and parenthood while invoking (among others) Keats, Kafka, Einstein, Russian cosmonauts, and advice for the housewife of 1896, will you please simply believe me, and read it?

We throw our parties; we abandon our families to live alone in Canada; we struggle to write books that do not change the world, despite our gifts and our unstinting efforts, our most extravagant hopes. We live our lives, do whatever we do, and then we sleep--it's as simple and ordinary as that. A few jump out of windows or drown themselves or take pills; more die by accident; and most of us, the vast majority, are slowly devoured by some disease or, if we're very fortunate, by time itself.

Virginia Woolf came along in the early part of the century and essentially said through her writing, yes, big books can be written about the traditional big subjects. There is war. There is the search for God. These are all very important things.

You want to give him the book of his own life, the book that will locate him, parent him, arm him for the changes.

You have started the book with this bubble over your head that contains a cathedral full of fire - that contains a novel so vast and great and penetrating and bright and dark that it will put all other novels ever written to shame. And then, as you get towards the end, you begin to realise, no, it's just this book.

I know, speaking for myself, no matter what I'm able to do, no matter what book comes out and ends up on paper, I always had something bigger and grander in my head.

Sometimes you walk out of an audition and you kind of know you nailed it and you're probably going to book it, but you very rarely are told in the room by the people who are hiring you.

Writing a book is a bit like going on location for a movie. You're absent from your life, your family, and your friends. You're psychologically gone, so you might as well be physically gone.