Quotes About Book

I first heard the term "meta-novel" at a writer's conference in Tulsa, Oklahoma. The idea is that even though each book in a series stands alone, when read collectively they form one big ongoing novel about the main character. Each book represents its own arc: in book one of the series we meet the character and establish a meta-goal that will carry him through further books, in book two that meta-goal is tested, in book three - you get the picture.

I wrote "Win" for people on both sides, legitimately on both sides. If you're a Democrat listening to this right now, you - the whole playbook is in this book. If you're a Republican, and you're frustrated because Barack Obama is a great communicator, the playbook is in this book. And if you're a corporation who wants to satisfy his - their employees, how to do it is in this book. And finally, if you're an employee and you want to get a raise, whether at NPR or anyplace else, it's in this book.

Corliss wondered what happens to a book that sits unread on a library shelf for thirty years. Can a book rightfully be called a book if it never gets read? If a tree falls in a forest and gets pulped to make paper for a book that never gets read, but there's nobody there to read it, does it make a sound?

I doubt if I shall ever have time to read the book again -- there are too many new ones coming out all the time which I want to read. Yet an old book has something for me which no new book can ever have -- for at every reading the memories and atmosphere of other readings come back and I am reading old years as well as an old book.

A movie is not a book. If the source material is a book, you cannot be too respectful of the book. All you owe to the book is the spirit.

There are some things fundamentally off about the stance of the book. And maybe that's okay; maybe every book is flawed, and great books, as flawed as they might be, articulate a moral argument that the reader then carries forward. The critique to this model is, of course, to ask: Should a book be ever so perfect that you come out of it with complete moral agreement that can be sustained?

I am very bad at remembering the books I've read and so recently I had a wonderful experience. I decided I wanted to teach Toni Morrison's The Bluest Eye. I hadn't read it in twenty-five years. I was surprised to find how much I drew from that book. Stole from that book, learned from that book about writing. I had forgotten and there it was. Morrison has called that text faulted. I cannot see how.

Every book I write, the first thing I have to do is get into the voice, and the voice varies from book to book - that's part of what's interesting to me.

I like the idea of standalone novels. I always found with series of books, it's something that publishers love obviously because they can make a lot of money and they build an audience from book to book, but I don't like that as a writer. I prefer the idea of just telling a story, completing it within your book, and moving on and not forcing a child to read eight of them.

Well I just so happened to bump into a chess book in the library at school and I didn't know that there were books on chess and so I take this book out and I'm like this is going to be cool, I'm going to whoop on this guy now, so I studied the book and I go back and the guy crushes me again.

The book. The book...think about a book. What a perfect invention. The best and most important ever.

Painting myself for others, I have painted my inward self with colors clearer than my original ones. I have no more made my book than my book has made me--a book consubstantial with its author, concerned with my own self, an integral part of my life; not concerned with some third-hand, extraneous purpose, like all other books.

When I write a new draft, I don't like to feel I'm tied to any previous version. That's why I don't use a computer to write. The text looks, on the screen, too much like a book. It's not a book - it's a bad first draft of something that could one day be a book.

I've tried to reduce profanity but I reduced so much profanity when writing the book that I'm afraid not much could come out. Perhaps we will have to consider it simply as a profane book and hope that the next book will be less profane or perhaps more sacred.

When Emily Dickinson's poems were published in the 1890s, they were a best-seller; the first book of her poems went through eleven editions of a print run of about 400. So the first print run out of Boston for a first book of poems was 400 for a country that had fifty million people in it. Now a first print run for a first book is maybe 2,000? So that's a five-time increase in the expectation of readership. Probably the audience is almost exactly the same size as it was in 1900, if you just took that one example.

Often the adult book is not for you, not yet, or will only be for you when you're ready. But sometimes you will read it anyway, and you will take from it whatever you can. Then, perhaps, you will come back to it when you're older, and you will find the book has changed because you have changed as well, and the book is wiser, or more foolish, because you are wiser or more foolish than you were as a child.

I've published one book before, and now I'm writing a book of essays and stories about life in Tokyo. And I have one book coming out in May in Germany, about fitness.

Reading alters the appearance of a book. Once it has been read, it never looks the same again, and people leave their individual imprint on a book they have read. Once of the pleasures of reading is seeing this alteration on the pages, and the way, by reading it, you have made the book yours.

I feel lucky that I read so many books as a kid because I know that no matter how much I appreciate a book now, and I can love a book very much, it's never going to be that childhood passion for a book. There's some element, something special about the way they're reading books and experiencing books that's finite.

Where is the book in which the teacher can read about what teaching is? The children themselves are this book. We should not learn to teach out of any book other than the one lying open before us and consisting of the children themselves.

My personal telephone book is a book of the dead now. I'm so old. Almost all of my friends have died, and I don't have the guts to take their names out of the book.

Run a test. Give a 5-year-old a printed book and an iPad and see what happens. That 5-year-old is going to go right for the iPad. They're not intimidated by it. They know what to do with it. They'll start searching around. And in a children's e-book, you can have links to kid-safe encyclopedia. So if they click on the lion, it takes them to Africa and tells them all about lions. So now, the e-book is educational.

I think this book, Matthew Desmond's "Evicted: Poverty and Profit in the American City.", if you have a friend who is a public official, hand him or her this book. It's that important. And this book raises some serious questions about what kind of country do we want to be.

My parents would frisk me before family events, and find the book, and lock it in the car. And then be disappointed where, somewhere at the event, I would find a book and sit under a table where nobody could get me and go back into book land.

The first book was out and for the first time we were on a book tour. Being the son of an immigrant, I'd never dreamt of being on book tours. Suddenly the attention was huge.

I got a book token for Christmas and exchanged it for a book called A History of Art, and that book (which I still have-battered and falling to pieces) became more precious to me than any Bible.

If you take a book with you on a journey," Mo had said when he put the first one in her box, "an odd thing happens: The book begins collecting your memories. And forever after you have only to open that book to be back where you first read it. It will all come into your mind with the very first words: the sights you saw in that place, what it smelled like, the ice cream you ate while you were reading it... yes, books are like flypaper—memories cling to the printed page better than anything else.

In my book, The Sins of Scripture, I traced the development of tribal religion, which included ideas like God's killing the Egyptians because they hated the chosen people. Then a God of love finally appears in the Book of Hosea, about the 8th century. A God of justice appears in the Book of Amos in the late 8th century or early 7th century.

I often like to think that our map of the world is wrong, that where we have centered physics, we should actually place literature as the central metaphor that we want to work out from. Because I think literature occupies the same relationship to life that life occupies to death. A book is life with one dimension pulled out of it. And life is something that lacks a dimension which death will give it. I imagine death to be a kind of release into the imagination in the sense that for characters in a book, what we experience is an unimaginable dimension of freedom.

After you publish a book, you become a writer and you're supposed to take it very seriously. You're supposed to show up at your desk - although frankly, I don't have a desk, I write in bed - you're supposed to show up at your bed and produce work. I think it's a little bit like work. I like to have fun with it, do things like make silly book trailers. I don't want to take this too seriously.

he technology that threatens to kill off books as we know them - the "physical book," a new phrase in our language - is also making the physical book capable of being more beautiful than books have been since the middle ages.

The Kindle is the most successful electronic book-reading tablet so far, but that's not saying much; Silicon Valley is littered with the corpses of e-book reader projects.

I didn't know enough as a writer to understand why I needed to do this, but I understood in a very gut way that I could not entertain those thoughts of pleasing people and write this book - that it would be a very different book. Without really sort of investigating that instinct, which I'm glad for, I just made a conscious decision to put blinders on and not think about anything and put it all in. And I did. I put everything in. I had to look at the whole picture to see what I needed.

Literature was the only religion her father practiced, when a book fell on the floor he kissed it, when he was done with a book he tried to give it away to someone who would love it.

I'm such an old fart that I started buying books on film and TV and radio and music when, for television, the entire shelf of books was only a couple of them. You go into the '70s before you start getting books on TV that you start wanting to collect. And by the time that you get to something like the Brooks and Marsh book it's invaluable. My house got hit by lightning in 1989 and burned down. And I got more than a half dozen Brooks and Marsh books sent to me by friends immediately, as though that's what you need more than clothes or food. That's how treasured that book was.

No one should ever finish a book they're not enjoying, no matter how popular or well reviewed the book is.

Most chess books only sell a few thousand copies, and a book titled something like "Women in Chess" would sell even fewer. The idea with this title was to spread the book outside the competitive chess world. I'm interested in attracting readers who love chess but play only casually, and feminists interested in male-dominated fields.

Most of the stats say that 90% of people who buy a book or check one out of a library would never get past the first chapter. To me, the title better say everything there is to say about the book.

In a sense, the artwork is the most important thing in getting somebody to buy a book. The person probably won't buy a book if he doesn't like the artwork. Once you buy it for the artwork, you hope that the story will also be good.

I always tell people, "There's a book on everyone." I get some of that book before I do anything. If I want to deeply understand someone's reputation, I'll talk to their friends, their former bosses, their peers, and I'll learn a lot about them. I want them to be trusted. I want them to be respected. I want them to give a s - -. Then there are the intangibles: physical and emotional stamina, the ability to confront issues. I can ask all I want about those things, but I also have to see a lot of it.

By the end of the book, it is quite different than the way you thought it would be when you started the book - both in form and what it contains and what you think. Well, you tipped in a lot and you digested a lot - it wasn't pre-digested in your view. And it changed what you thought and how you see things.

I never thought I'd be a writer. I never thought I'd be able to read a book, let alone write one. So if books like this inspire kids to write, or even read a whole book, I think it's good.

If he can give his readers no reason why they should read his book, except that the events happened to him, it is not a valid book.

If writing and publishing a book is like giving birth to a child, then book marketing is like rearing it.

It's just the garbage in/garbage out trick. If you're not taking any fiction in, good or bad, then how can you be spitting any back out (good or bad)? I can't even imagine trying to write without reading. Really, I can hardly write a novel at all if I'm not reading just book after book.

The gods weave misfortunes for men, so that the generations to come will have something to sing about.” Mallarmé repeats, less beautifully, what Homer said; “tout aboutit en un livre,” everything ends up in a book. The Greeks speak of generations that will sing; Mallarmé speaks of an object, of a thing among things, a book. But the idea is the same; the idea that we are made for art, we are made for memory, we are made for poetry, or perhaps we are made for oblivion. But something remains, and that something is history or poetry, which are not essentially different.

Ranganathan's 5 Laws: Books are for use. Books are for all. Every book its reader, or every reader his book. Save the time of the reader. A library is a growing organism.

If you're going to visit and re-visit a book, it has more reason to be a real book, because of that ability to concentrate and that relationship that you build up with it, as opposed to the relationship that you build up with your screen, rewards replacement.