Quotes About Read

Read. Read. Read. Read. Read great books. Read poetry, history, biography. Read the novels that have stood the test of time. And read closely.

Read to your children Twenty minutes a day; You have the time, And so do they. Read while the laundry is in the machine; Read while the dinner cooks; Tuck a child in the crook of your arm And reach for the library books. Hide the remote, Let the computer games cool, For one day your children will be off to school; Remedial? Gifted? You have the choice; Let them hear their first tales In the sound of your voice. Read in the morning; Read over noon; Read by the light of Goodnight Moon. Turn the pages together, Sitting close as you'll fit, Till a small voice beside you says, "Hey, don't quit.

I read like an animal. I read under the covers, I read lying in the grass, I read at the dinner table. While other people were talking to me, I read.

Probably a good idea, let me know how it ends" "I already know how it ends" "You read the ending first?" "I always read the ending before I commit to the whole book." "If you know how it ends, why read the book?" "I don't read for the ending. I read for the story".

Read not to contradict and confute; nor to believe and take for granted; nor to find talk and discourse; but to weigh and consider. Some books are to be tasted, others to be swallowed, and some few to be chewed and digested: that is, some books are to be read only in parts, others to be read, but not curiously, and some few to be read wholly, and with diligence and attention.

How about Proust's In Search of Lost Time?" Tamaru asked. "If you've never read it this would be a good opportunity to read the whole thing." "Have you read it?" "No, I haven't been in jail, or had to hide out for a long time. Someone once said unless you have those kinds of opportunities, you can't read the whole of Proust.

If you read Martin Luther King speeches and sermons in the last two years of his life - you might want to - –when I read these to my students, they think it's Malcom X because it's so radical. And if you read nothing else - if your viewers read nothing else - then the April 4, 1967, speech at Riverside Church called "Beyond Vietnam," that's where he says the greatest purveyor of violence on earth is my country. And he connects the triplets of evil, racism, militarism, and materialism, and that connection makes him a radical.

We have an obligation to read aloud to our children. To read them things they enjoy. To read to them stories we are already tired of. To do the voices, to make it interesting, and not to stop reading to them just because they learn to read to themselves. Use reading-aloud time as bonding time, as time when no phones are being checked, when the distractions of the world are put aside.

I read a book twice as fast as anybody else. First, I read the beginning, and then I read the ending, and then I start in the middle and read toward whatever end I like best.

To read a novel requires a certain kind of concentration, focus, devotion to the reading. If you read a novel in more than two weeks, you don't read the novel really.

I can never read this book, just like I can never see a movie that I wrote a screenplay for. I can read it and see it physically, but I can't accurately judge it. I'm too close to it. If I read it ten times I'll have ten different reactions.

I never read anything in print about me. It started with not reading reviews and with the greatest respect to my publicist here, I never read interviews. I was there when I gave them. I never read reviews. I was there when I did the jobs - so I'm totally immune. I live in a bubble.

Read something that YOU want to read, not something that you feel compelled to read.

I may be the person who put "dieselpunk" into the conversation. I have always been a reader who reads in a really broad way. I read genre writers and I read literary fiction and I read books by dead people.

A conventional good read is usually a bad read, a relaxing bath in what we know already. A true good read is surely an act of innovative creation in which we, the readers, become conspirators.

The best way is to read it all every day from the start, correcting as you go along, then go on from where you stopped the day before. When it gets so long that you can't do this every day read back two or three chapters each day; then each week read it all from the start. That's how you make it all of one piece.

You live in a society that is shaped in every possible way by the Bible. The language you use, the laws you obey (and disobey), the founding principles of your nation, the disputes about abortion, homosexuality, adultery - these and so much else in your world are rooted in the Bible. You don't have to read it for its truth value. You should read it to understand how your world got the way it is, the way you would read the constitution or Shakespeare.

I was not yet three years old when my mother determined to send one of my elder sisters to learn to read at a school for girls we call the Amigas. Affection, and mischief, caused me to follow her, and when I observed how she was being taught her lessons I was so inflamed with the desire to know how to read, that deceiving - for so I knew it to be - the mistress, I told her that my mother had meant for me to have lessons too. ... I learned so quickly that before my mother knew of it I could already read.

I read a script or I read a project or I read a novel and I know that I'm going to spend two to three years of my life with that, exclusively. So you better like it. There better be an honorable, real need to make that movie.

I think any comic book - or really, any book that you can read - in a sense is an educational tool in that it helps literacy. The more you read, the better you get at it. It almost doesn't matter what you read, the important thing is for young people to become readers.

Books, books, books. It was not that I read so much. I read and re-read the same ones. But all of them were necessary to me. Their presence, their smell, the letters of their titles, and the texture of their leather bindings.

I have this theory that people in Hollywood don't read. They read 'Vanity Fair' and then consider themselves terribly well read. I think I can basically write about anybody without getting caught.

I had not read George Eliot, so read a few. I felt ashamed I hadn't read "Middlemarch" before.

In order to enjoy the Word, we ought to continue to read it, and the way to obtain a spirit of prayer, is, to continue praying; for the less we read the Word of God, the less we desire to read it, and the less we pray, the less we desire to pray.

The second book, which was probably more from a professional standpoint - when I read Junot Díaz's Drown, I was like, Oh my god, you can write these stories and people will actually read them beyond your own little community. This guy's book is blowing up and it seems like [he's writing about] the neighborhood that I grew up in. That was a big deal. I read that in graduate school, so that's when I was really taking writing seriously, but I didn't know you could do it. I didn't know you can actually be an author. It was a weird epiphany.

My father read Günter Grass. He introduced me to German literature. I believe the first book I read by a German author was from Grass. After that, Thomas Mann accompanied me for a few years during my literature studies. I tried again and again to read the original German text, but I never really succeeded.

I do read a lot, and I think in recent years the ratio between the amount of non-fiction and fiction has tipped quite considerably. I did read fiction as a teenager as well, mostly because I was forced to read fiction, of course, to go through high school.

Do let him read the papers. But not while you accusingly tiptoe around the room, or perch much like a silent bird of prey on the edge of your most uncomfortable chair. (He will read them anyway, and he should read them, so let him choose his own good time.) Don't make a big exit. Just go. But kiss him quickly, before you go, otherwise he might think you are angry; he is used to suspecting he is doing something wrong.

Shades of Grey. I haven't read it yet, but what you have to read carefully, is “Story of O” by the French writer Dominique Aury. This is actually the forerunner of all the whole SM novels and it's really good. You have to read it.

I don't think I've ever googled myself. But I do read some things... I mean, if I know that I was with an interviewer and I kind of figure that he or she got something bad or something good from the interview, then I'll read the piece when it comes out. But other than that, I'd have to have a reason to read it - and, usually, I don't have a reason.

The only things I read are gossip columns. If I read three pages of a book, I'm out like a light. When I pick up the book again, I've forgotten what I've read and have to start over again. By page three, even if I've just awakened from a nine -hour nap, I fall asleep again. So if anyone gives me a book, it had better have lots of pictures.

I never read detective novels. I started out in graduate school writing a more serious book. Right around that time I read 'The Day of the Jackal' and 'The Exorcist'. I hadn't read a lot of commercial fiction, and I liked them.

I read five books on the Constitution. My favorite was 'Plain, Honest Men' by Richard Beeman. I went on a science jag in the same way. I kept getting in arguments about evolution and being bested. So I read Charles Darwin's 'On the Origin of the Species,' a fantastic book that is not that difficult.

I knew from the age of 16 that I wanted to be a writer because I just didn't think I could do anything else. So I read and read and wrote short stories and dreamed of escape.

I never had a plan, except to write. I love what I do, and have from the beginning. Loving what you do makes it a lot easier to work, every day, to face the tough spots and heel in for the long haul. Nothing against plans; they work for some people. But for me, if I'd been planning, worrying about numbers, trying to micro-manage my career, I wouldn't have focused on the writing. If you don't write, you're not read. If you're not read, you don't sell. So that's my Master Plan, I guess. Write the books, let the agent agent, the editor edit, the publisher publish.

Anthropologists visit the temple sites and read the inscriptions and make up stories about the Maya, but they do not read the signs correctly. Its just their imagination. Other people write about prophecy in the name of the Maya. They say that the world will end in December 2012. The Mayan elders are angry with this. The world will not end. It will be transformed.

People seldom read a book which is given to them; and few are given. The way to spread a work is to sell it at a low price. No man will send to buy a thing that costs even sixpence without an intention to read it.

We tell each other stories to help each other live. That’s why I read poetry. I read poetry to stay alive. That’s why I went to poetry in the first place, that’s why I stay with it, that’s why I’ll never leave it.

As for the differences between audio and the printed page, the sonic aspects of poetry are important to me. I read my poems aloud to myself as I'm composing them. And I enjoy reading to an audience. I think people get tone more easily when they hear a writer read her work. Some people have told me they hear more humor in my poems at a live reading than when they see them on the page. I think that may be a matter of pacing. On the other hand, I've listened to a lot of poetry readings and I know how much you can miss. If you stop to really register one line, you miss the next three or so.

I read the 'Old Testament' all the way through when I was about 13 and was horrified. A few months afterwards I read 'The Origin Of Species', hallucinating very mildly because I was in bed with flu at the time. Despite that, or because of that, it all made perfect sense.

Before college, I hadn't voluntarily read anything that might be called literature; I didn't think I'd understand it; I never seemed to understand my English teacher's interpretations of what we read.

Often if you are very, very close with someone, sometimes it does not read. In effect, your dynamic onstage is defused. You share too much onstage. There's sort of a blurring of behavior that doesn't read to the audience as chemistry.

Sometimes Joyce is hilarious. I read Finnegans Wake after graduate school and I had the great good fortune of reading it without any help. I don't know if I read it right, but it was hilarious! I laughed constantly! I didn't know what was going on for whole blocks but it didn't matter because I wasn't going to be graded on it. I think the reason why everyone still has so much fun with Shakespeare is because he didn't have any literary critic. He was just doing it; and there were no reviews except for people throwing stuff on stage. He could just do it.

You are not mentally developed by what you read, but by what you think about what you read.

You read best what you read most.

In the case of Anathem, most of the research had to do with philosophy and metaphysics. Reading this sort of thing has never been my strong suit, so I actually had to be somewhat more "organized and results-driven" than is my habit. I just made up my mind that I was going to have to read some of these philosophy tomes, and I forced myself to read something like 10 pages a day until I had bashed my way through them.

Isn't it odd how much fatter a book gets when you've read it several times?" Mo had said..."As if something were left between the pages every time you read it. Feelings, thoughts, sounds, smells...and then, when you look at the book again many years later, you find yourself there, too, a slightly younger self, slightly different, as if the book had preserved you like a pressed flower...both strange and familiar.

I think that some books are more successful than others to certain readers. People who read my books for the humor, they're going to love one book. People who read my books for the mystery, they might not like that book quite as much.