Book Quotes - Page 634

To me the Mahabharata is a profoundly religious book, largely allegorical, in a way meant to be a historical record.

Tulsidas's Ramayana is a notable book because it is informed with the spirit of purity, pity and piety.

My heart is drawn backwards and forwards between the spinning wheel and books.

I've always loved reading fantasy. I used to pick out all the books in the library that had the little unicorn sticker on the side to show that they were fantasy.

Write the book you've always wanted to read, but can't find on the shelf.

You could write a book about things that you can't find on-line.

I couldn't imagine anyone ever reading a book enough to make it look like that. It looked like it had been driven over by a school bus after someone had taken a bath with it.

Oh, filmmakers, please don't take my soft book and turn it into a horror, or take my horror and make it soft.

I think that whenever a book is not a challenge, I'm telling the wrong story.

I picture my books as movies when I get stuck, and when I'm working on a new idea, the first thing I do is hit theaters to work out pacing and mood.

Misty of Chincoteague', 'The Black Stallion', the 'Saddle Club' books, I read 'em all. I was horse-crazy.

Then I picked my book back up again and stroked her hair and read to the soundtrack of her breaths.

I missed the sound of her shuffling her homework while I listened to music on her bed. I missed the cold of her feet against my legs when she climbed into bed. I missed the shape of her shadow where it fell across the page of my book. I missed the smell of her hair and the sound of her breath and my Rilke on her nightstand and her wet towel thrown over the back of her desk chair. It felt like I should be sated after having a whole day with her, but it just made me miss her more.

I don't cry at books or movies. Ever. So imagine my shock and awe when I read 'The Time Traveler's Wife' for the second time, and I knew the ending, and I started to cry.

I adore book-to-film adaptations when they're done well, and I'm more lenient than many readers when it comes to what counts as 'done well.' For me, the most important thing is that the film maintains the spirit of the original book.

Do you know how some people can do anything?” “What do you mean?” “I mean, you tell them to write a tune, they give you a symphony right there. You tell them to write a book, they write you a novel in a day. You tell them to move a spoon without touching it, they move it. If they want something, they make it happen. Miracles, almost.

There's no such thing as a good book or a bad book. There's a book that matters to a reader.

Readers will stand up and cheer for Karen Fox's Prince of Charming! Finally, a heroine who's a real woman. Finally, a hero who knows what a rare find she is! Finally, a book for us all to adore! Thank you Karen Fox for creating the most lovable hero romance has seen in a long, long time!

The role you've been ascribed in childhood can twist or break apart or seem outgrown, especially when you have your own family and begin to see your own childhood from a different angle. You remember. You reassess. I think that was the kernel of the novel for me. This idea that you change but that your family, the people you were born into, might find that change hard to accept. You no longer fit the mold you've always been ascribed. When the adult children in the book converge back on their small family home there's a sense that they don't fit there anymore.

All the time I was plowing through books on dyslexia, I found myself asking: what if, what if? What if you were a kid the 1950s with this condition, when there were no books on it, when there was no understanding of it. I remember kids in my class at school who just didn't seem to progress in their reading. There was no extra help. People just thought, "Oh, he or she isn't so bright, or they're obstinate."

I don't want to be influenced as to what I write in the next book, to hear those voices in my head when I'm writing. The idea of second-guessing your reader is dangerous, trying to please some notional reader looking over your shoulder, instead of just yourself.

As you'll know yourself, there are these moments when you're writing a book when one remark or moment will pull everything together and you'll think, "That's it. I've got what I need."

In the course of writing a book I'll produce loads of pieces of paper to help the novel itself. Diagrams, charts, family trees. And at the end of each book I'll pack it all away. It takes me a while to do it - it's like a relationship that way; there's a period of letting - go, of grief, in a way - but then I box it up, label it, and put it in the attic.

For a while I used to listen to those whispers about babies costing you books, and Cyril Connolly's loathsome quote that "There is no more somber enemy of good art than the pram in the hall." But it's rubbish. Absolute rubbish. A huge amount of your work is done when you're not at your desk. Knotty problems that you need your unconscious to solve. So it can be helpful to walk away and focus on other things and it can be helpful to be a bit harassed in your daily life, to be hungry for time to write.

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.