Book Quotes - Page 679

I want to write books that can be read a hundred years from now, and readers wouldn't be bogged down by irrelevant details.

The less you offer, the more readers are forced to bring the world to life with their own visual imaginings. I personally hate an illustration of a character on a jacket of a book. I never want to have someone show me what the character really looks like - or what some artist has decided the character really looks like - because it always looks wrong to me. I realize that I prefer to kind of meet the text halfway and offer a lot of visual collaborations from my own imaginative response to the sentences.

Yes! I'm the slowest comic-book writer on Earth.

I don't know why the world has changed so much that writers are now expected to appear in public and talk about their work. It's something I find very difficult. And yet, one does have some sense of responsibility towards one's publishers, to the people trying to sell the book.

I've just finished reading Reality Hunger and I'm lit up by it-astonished, intoxicated, ecstatic, overwhelmed. . . . It really is an urgent book: a piece of art-making itself, a sublime, exciting, outrageous, visionary volume.

I try to write every day. I don't beat myself up about word counts, or how many hours are ticking by on the clock before I'm allowed to go and do something else. I just try to keep a hand in and work every single day, even if there are other demands or I'm on a book tour or have the flu or something, because then I keep my unconscious engaged with the book. Then I'm always a little bit writing, no matter what else I'm doing.

Every book is a kind of experiment in doing something that feels impossible.

With a book you can read the same paragraph four times. You can go back to page 21 when you're on page 300. You can't do that with film. It just charges ahead.

I once made a check of all books in my fourth-grade classroom. Of the slightly more than six hundred books, almost one quarter had been published prior to the bombing of Hiroshima; 60 percent were either ten years old or older.

I wrote the first book, and I thought people would say: 'Separate and unequal schools in the City of Boston? I didn't know that. Let's go out and fix it.'

Time spent researching varies from book to book. Some novels require months, even years of research, others very little. I try to do most of my research before I begin but inevitably questions emerge during the writing.

Without art; without paintings, books, sculpture and music, the human soul would be quite impenetrable, don't you think?

Books aren’t just my defenses, the sandbags I use to fortify my position; they are also the building blocks of my soul, and I am the sum of all I read.

I'd be surprised if non-fiction writers hate to be interviewed. We all hate them, because there's really nothing to say except "Read the book." Right? At least with non-fiction, you can kind of convey some information, and people can decide for themselves whether they want more of that kind of information. But with a novel, what am I going to do?

I'm not too concerned what happens to my books after I'm dead. But I am very concerned by what's going on with the culture of reading and writing nowadays.

What he'd never understood about men in his position, in all the books he'd read and movies he'd seen about them, was clearer to him now: you couldn't keep expecting wholehearted love without, at some point, requiting it. There was no credit to be earned for simply being good.

I was about 13, in some ways, when I wrote the first book. Approximately 18 when I wrote the second.

I don't personally like the e-readers they've come up with so far. I don't fetishize books, but I do like that they're solid and unchanging.

This evening I begin a notebook. If anyone reads this, I trust they will forgive my overuse of "I". I can't stop it. I'm writing this.

If you read the biographies of people who have written good books, you often see the point where they suddenly come into themselves, and those weeks in the spring of 1997 were when I came into myself as a writer. They feel like some of the best weeks of writing I’ll ever have. The discovery that I could write better about something as trivial as an ordinary family dinner than I could about the exploding prison population of the United States, and the corporatization of American life, and all the other things I’d been trying to do, was a real revelation.

If I walk into a place, a party, say, and there's a bookshelf, I immediately gravitate toward it. Unless there's a bar. But even then, it's only a matter of a few rounds before I make my way to the bookshelf. If there are good books on it, I may never leave the spot all night. Anybody I really want to talk to is going to make his or her way to that bookshelf sooner or later, anyway, right? Books are a nexus. They start conversations, and they continue conversations, and they make people better conversationalists. I have not found this to be the case with Iron Chef, or even alcohol.

But once you publish a book, doesn’t it by definition become the realm of public discourse? Otherwise, wouldn’t we just write books and print them out ourselves, and give them to specific people we felt comfortable giving them to–like gifts? Isn’t publishing sort of a social contract?

Empire of Deception is a sure thing--a book guaranteed to entertain and make you rich (in knowledge, that is). Dean Jobb has found a fascinating yet little-known jazz-age tale and told it with style and smarts. Get in on the action.

I don't want to make it sound too much like I'm telling people how to read the book A Thousand Pardons, but what Ben Armstead is doing, he's doing more or less on purpose as a very elaborate way of making a sacrifice in his personal life. He needs to start over. This is how he chooses to do it - by blowing up where he is.

That's really the essence of what any fiction writer does. Some of it is research-based, but most of it is a really long-term, imaginative, empathetic effort to see the world the way someone whose experiences remote from yours might see it. Not every writer works that way; some writers make a wonderful career out of writing books that adhere very closely to how they view the world. The further I go with this, the more interested I get in trying to imagine my way into other perspectives that at first seem foreign to me.