Book Quotes - Page 648

I have ALWAYS wanted to write - I was the seven-year old entering local library poetry contests, and I recently found my eighth-grade yearbook when we moved, and I had listed "WRITER" as my future occupation. It's always been something I've been hungry to do, but I think the more practical side of me (encouraged by the more practical sides of my parents of course) shied away from pursuing a career in creative writing, in favor of something a little "safer" like law.

I'm pretty much an open book.

I don't need validation, recognition or praise. What I need are facts and the facts are that one of my books gets sold, somewhere in the world, every second.

I've discovered writers by reading books left in airplane seats and weird hotels.

It's always tense when you move a character from a book to the screen. Always tense.

For me the end of a book is just as exciting as it is for a reader.

I think my books come out very visual, which is an obvious consequence.

I don't read books much.

A great read; an exciting, frightening account of organized crime today. But like all important works of nonfiction, it goes further… This book is must reading for anyone with an interest in the enduring effects of the Vietnam War, the subject of crime in our streets, and the issue of personal responsibility in a harsh, chaotic world.

There was a day where I was sitting at my desk, working 90-hour work weeks, in a suit, looking at a computer, with all these pitch books on my desk, and I just thought, "This can't be my life..."

I think when I write movies and plays and books and magazine articles, they're all storytelling, and reality is the common denominator that binds them.

Having written Camp David as a drama, I could see the drama maybe a little more clearly when I wrote the book.

I just wrote a book, but don't go out and buy it yet, because I don't think it's finished yet.

There are major writers who have written books [based on my research]. If one looks carefully at the copyright page, you'll see my name. Writers of the stature of Mailer and even bigger. All over the world.

Everybody in Washington wants one of these jobs studies this book. It`s called the Plum Book because the people in Washington turn the pages looking for the plum that they want, the job that they want.

As I've indicated, most books go out of print within one year. The same is true of music and film. Commercial culture is sharklike. It must keep moving. And when a creative work falls out of favor with the commercial distributors, the commercial life ends.

A free culture is not a culture without property; it is not a culture in which artists don't get paid. A culture without property, or in which creators can't get paid, is anarchy, not freedom. Anarchy is not what I advance here. Instead, the free culture that I defend in this book is a balance between anarchy and control.

We live in a world with "free" content, and this freedom is not an imperfection. We listen to the radio without paying for the songs we hear; we hear friends humming tunes that they have not licensed. We tell jokes that reference movie plots without the permission of the directors. We read our children books, borrowed from a library, without paying the original copyright holder for the performance rights.

Is there an aesthetic "fit" in my work between God and the world? The "I' in my poems has from the beginning identified himself as Catholic, and my books certainly can be read as presenting a Catholic theology "in a very particular sense." Catholicism is a faith morally identified with the human struggle for human dignity and justice. It is a vision of the world incarnationally rooted in the senses, a faith of and in spoken and written words - Scripture, "the Word of God," the Logos.

My sense of the poet is classical - the poet is one who makes poems. In each book, I develop and repeat certain general themes - time, place, memory, God, history, class, race, beauty, love, poetry, identity. The core identity is the poet making the poems.

I've always believed that poetry must speak of realities as least as complicated as those spoken of in prose. I've read books of poems, even single poems, which are, for me, at least the equivalent of a short story or a novel. Martin Amis, in an interview with Saul Bellow in the early eighties, quotes Bellow asking, "Why not address 'the mysterious circumstance of being', say what it's like to be alive at this time, on this planet?" This has been and still is my ambition.

You can publish a poem you think is a very important poem, and you don't hear a word from anyone. [...] You can publish a book of poetry by dropping it off a cliff and waiting to hear an echo. Quite often, you'll never hear a thing. So doing that, using older work, puts it in a context, and that sort of forces the reader to realize what its importance is-if it has any. Everything needs a context. You're not going to recognize a poet unless you have a context.

[A writer] must try to think clearly, to feel deeply, to write honestly. If he is fortunate he will make a living, but his work will never be anymore essentially clear and deep and honest than he himself is, and he will be judged finally not for how many copies his books have sold, but for what they have done to enrich the lives of their readers, now and in time to come.

I can speak of my own criterion for judging whether or not a book is good or bad. I ask of it a single question, From how deep and true an impulse did it spring? Was it written merely to shock? Only to make money? Or was it written to create something more perfect and more lasting than the life experience from which it came?

I have always been reconciled to the fact that I was born a bibliomaniac, never have I sought a cure, and my dearest friends have been drawn from those likewise suffering from book madness.