Book Quotes - Page 666

You were firing questions at me today, trying to get inside my head. You asked if I believed in God. I told you of course I do- I've always had a strong sense of self. Your house is quiet now, you're sleeping upstairs and I'm alone with this blasted, idiotic book that purports to tally the sum of my life, and fact is, maybe I do. But maybe, ka-lyrra, your God doesn't believe in me. -- From The (Greatly Revised) Black Edition Of The O'Callaghan Book of the Sin Siriche Du

My philosophy is pretty simple – any day nobody’s trying to kill me is a good day in my book.

How will we get back up?" I worried. "I have a different route in mind for our return trip." "Does it involve stairs?" I asked hopefully. "No." "Of course not. How silly of me. And for our return adventure we will be scaling the side of Mount Everest, hiking boots to be provided by our trusty sponsor, Barrons Books and Baubles.

He didn't just occupy space; he saturated it. The room had been full of books before, now it was full of him.

You need me as much as I need you. That makes us equal partners in my book. Well, your book is just wrong.

I realized early in my career that precisely what one reader doesn't like is what another reader loves. Collectively, any writer's audience presents a mishmash of expectations that can never all be met. What one-tenth of my readership may not be crazy about the other nine-tenths savors. The moment you start altering a book or a painting or any type of art as if it's a public collaborative, you crucify its soul. I'd rather irritate a few people and delight a lot than touch no one." ~ Karen Marie Moning

Allegra's Austen wrote about the impact of financial need on the intimate lives of women. If she'd worked in a bookstore, Allegra would have shelved Austen in the horror section.

You've done so many things and read so many books. Do you still believe in happy endings?" "Oh my Lord, yes." Bernadette's hands were pressed against each other like a book, like a prayer. "I guess I would. I've had about a hundred of them.

Animal rights is a serious subject, but I do my best to find humor where I can, and I have some great help: there are almost two hundred cartoons included in the book, including dozens from the brilliant Bizarro strip.

I love coloring books. I keep some by my bed.

I think I get from my books what other people get from family or a relationship or from prayer.

She once said, 'I'm really a little prudish, which people may think incongruous'. I take a prudish point of view on certain films, books, and trends. Then, I pull myself up short and ask myself how Gypsy Rose Lee could possibly be this way.I thought that quote was so telling, a key insight into the way she so carefully separated who she was from her meticulous creation.

I thought both she [Gypsy Rose Lee] and her story would be ill-served by a conventional, birth-to-death narrative, and so I structured the book like one of her stripteases: revealing a peek of shoulder, then a glimpse of knee, pulling back a bit before you go a bit further, until all is revealed at the end.

I did a book in 1996, an overview of black history. In that process I became more aware of a lot of the black inventors of the 19th century.

It's rare that you get to read, let alone teach, an arbitrary canon of your choosing in a tight time setting, and I tore through a fairly wide range of Indian writers, some contemporary - like Arundhati Roy and Salman Rushdie - and others older, like R.K. Narayan. And I think what happened at that stage was that I was forced to take a position in my own writing style that was more fixed, as opposed to reading a book at a time and defining myself in opposition to or in awe of it.

We're at an interesting phase of Asian and Asian-American writing, where we might succeed in having readers look at us as creative individuals who write with fury and fire about the world, and in new ways, without having them say things like "I read a really good Indian book," or "That Malaysian fellow writes very well." So I hope by identifying as Indian I can get people who don't usually read "ethnic" or "Indian" literature to read that literature and enjoy it.

I have to admit that I was terrified of ending the book, precisely because I go around saying about pretty much every book I read, "It fell apart at the end." I have friends who are waiting to ridicule me forever.

I'm more interested than Philip Roth in understanding women, even if I do it imperfectly. But that book, Portnoy's Complaint, is literary punk in this way that is rare.

I am just diving into life again. I just have nothing new to offer right now as an idea for a book. I feel like if I were to write something, I would probably repeat the same idea in a different story.

A lot of the book [The Yoga of Max's Discontent] is about karma and rebirth. Things like that are very attuned to my life as an Indian, but when I approach it from a perspective of a Westerner, then I have a skeptical, yet kind of novice view on it. I think that choice really liberated the story to be its own story. A lot of the conclusions that Max reaches on his own are not mine at all. So, I think that allowed the story to take on its own momentum, to have its own propulsive force.

What has happened in most of my books is the call to the extraordinary world, the hero's push, or that push has come to him.

Almost every yogi that appeared in the book [The Yoga of Max's Discontent] is either somebody I have seen and met and spoken to, or someone who is in my three degrees of separation - I know the source who talks to me about it so well that I believe his story.

I think I would like to write screenplays, books, really anything.

I read whatever is put in front of me. I gobble up books.

I don't think people really understood what I did. And you know, in my book, 'A Helluva High Note' deals with my back story, that I was a songwriter, that I spent years trying to hone my craft and being rejected and then finally becoming a successful songwriter, record executive and publisher.