Book Quotes - Page 749

One of our forefathers must have read a forbidden book.

As I take up my pen I feel myself so full, so equal to my subject, and see my book so clearly before me in embryo, I would almost like to try to say it all in a single word.

A writer who wishes to be read by posterity must not be averse to putting hints which might give rise to whole books, or ideas for learned discussions, in some corner of a chapter so that one should think he can afford to throw them away by the thousand.

If we thought more for ourselves we would have very many more bad books and very many more good ones.

I look upon book reviews as an infantile disease which new-born books are subject to.

If it is permissible to write plays that are not intended to be seen, I should like to see who can prevent me from writing a book no one can read.

A vacuum of ideas affects people differently than a vacuum of air, otherwise readers of books would be constantly collapsing.

The book which most deserved to be banned would be a catalog of banned books.

There are only two reasons for buying a book, after all. Either we intend to read it, in which case most of us find a printed version preferable, or we don't intend to read it, in which case a printed version is absolutely essential.

The Da Vinci Code may well be the only novel ever written that begins with the word 'renowned'... I think what enabled the first word to tip me off that I was about to spend a number of hours in the company of one of the worst prose stylists in the history of literature was this. Putting curriculum vitae details into complex modifiers on proper names or definite descriptions is what you do in journalistic stories about deaths; you just don't do it in describing an event in a narrative... Why did I keep reading? Because London Heathrow is a long way from San Francisco International.

The style, often found difficult in the earlier books, is just as individual but more perfectly modulated to experience, and the dialogue is much closer to contemporary idiom, especially when those cadences have been masterfully twisted to satirical ends.

I think Roosevelt proves himself to be the ultimate political force in this book. He really wasn't for primaries until he realized it was the only way in which he could challenge a sitting president then it becomes his crusade, is to create the primaries and to call for the people to rule.

I have a passion for words. I love words. And I'm just learning and developing my skills for words. I do books and I do journalism and plays. I have a broad palette. I don't have a great eye for direction. I love working with actors and I work very well with them because I appreciate what they bring to the table. I'd never say never, of course, but I look at it and don't really fancy it. I want to try and master the word side of it first.

This is what books only aimed to do and never could. Give you the glint of someone else's sunrise, what living is really like, you get old and it hurts to bend your elbow; your friends start to die, you can’t get fresh fruit in the shops.

A lot of people in government don't really read books at all.

A tablet replacing an exercise book is not innovation, it's just a different way to make notes.

I'm excited for everybody to see the books. In Justice League #15, there's a lot of other stuff too that's setup in this storyline that's going to explore Superman and Wonder Woman and Cyborg. Cyborg has a huge role in this story, actually, that sends him on a new path as well.

Re-introducing Aquaman and getting him to a place like that and then ultimately having him headline a Justice League storyline that crosses over between his book and Justice League really is the culmination of where we've been going with the character since the beginning. His role in this will change the Justice League storyline, it will change him, and it will send them both in new directions.

The process of book writing for me is entirely one of trial and error.

Each of my book arrives at a form and a style that is appropriate to the subject.

I like these nonfiction books where everything that is interesting about them is lost in that catch-all description of their "about"-ness.

I think, about the distinction between fiction and nonfiction. Fiction is not really about anything: it is what it is. But nonfiction - and you see this particularly with something like the BBC Samuel Johnson Prize for Non-Fiction - nonfiction we define in relation to what it's about. So, Stalingrad by Antony Beevor. It's "about" Stalingrad. Or, here's a book by Claire Tomalin: it's "about" Charles Dickens.

Whatever people may say about my books - and it always amazes me when people don't like them, but sometimes they don't - the epigraphs have always been top-drawer. I think having that at the outset protects me from a lot of potential problems.

I published so many books, which, for years, didn't get published here in America, at all - and which barely got any attention in England. So it wasn't going to take much to make me feel suddenly famous. So - yeah - after 20 years, I'm an overnight success.

I don't like my books being defined by their "about"-ness. So now the subtitle has just become a kind of strap-line on the cover.