Best 19526 quotes in «book quotes» category

I really just love to read, period, whether it be books or magazines or the back of the cereal box. It's the one thing I can always count on to calm me down, take me away and inspire me, all at once.

I really love doing nothing. I really love just being at home and taking a couple of days, you know, doing nothing. You know what I mean? Just getting up, being around the house, going outside the back yard, coming back in; I really like to do nothing because I travel a lot. There's a lot of travelling. There's a lot of on the phone all the time. There's a lot of looking at papers and reading things and so you don't want to read magazines and you don't want to do anything; you don't want to read books, you just want to just kind of shut down a little bit.

I really loved ["The Love Affairs of Nathaniel P" by Adelle Waldman]. It's having a really hot moment. Unlike many hot books, it's actually really wonderful. I tend to have that reaction: I don't want to read it if everyone thinks it's cool. It was a really interesting insight into being young and male. Now that made me feel really thankful for my boyfriend and really thankful because he wasn't like that protagonist, but I know so many people who are like that protagonist.

I really like the spooky twists and the intense mystery. I think the various plot devices work really well for TV, but they are still also in the spirit of Pretty Little Liars as a whole. I also really liked Spencer's breakdown in the previous season after Toby betrayed her. The girls have had breakdowns of sorts in the books, so it was fun to see that on-screen.

I really love middle-grade. Middle-grade books have a little more of a magical, light-hearted feel. You can be a little bit more quirky, you can have a little more humor. It doesn't get so dark and deep.

I really love poetry. I'm a big E.E. Cummings fan and a big Walt Whitman fan, and I have a big book of poetry.

I really needed to dramatize and clarify that Rachel was taking strides towards her own healing and her own sobriety - and that she was actually thoroughly frightened about what she may have done.This was something that was so beautifully done in the book [The Girl on the Train] through inner monologue, but I couldn't just have a whole film filled with inner monologues. So going to Alcoholics Anonymous was a very simple solution to that problem.

I really never even seriously considered a book but a few years ago someone approached me out of the blue and I said I would think about it.

I really, really wanted to lose awareness of the here and now. The best way for me to do that was bury myself in a book.

I really love "Bridget Jones's Diary" - and I love the book, too. You wonder how it ever got made into a movie. She's supposed to be chubby, and two of the hottest guys ever are straight-up fighting over her?

I really need to know where I'm going with fiction to write it in a way that at least I'm happy with. And I really think that a lot of fiction books end badly because terrific writers said, "I'll just figure it out" and plunge in, but have created so many problems that they are kind of impossible to solve. I mean, I'm talking really good writers do this and you can tell when they got to the end they either had to do something preposterous or they just don't really resolve things. So for fiction I spend a lot more time outlining and for humor I really don't do much of it.

I really only write about inner landscapes and most people don't see them, because they see practically nothing within, because they think that because it's inside, it's dark, and so they don't see anything. I don't think I've ever yet, in any of my books, described a landscape. There's really nothing of the kind in any of them. I only ever write concepts. And so I'm always referring to "mountains" or "a city" or "streets." But as to how they look: I've never produced a description of a landscape. That's never even interested me.

I really recommend that anyone who wants to write have a very physical hobby that takes you away from books and criticism, because it teaches you, it informs you, and it changes your writing.

I really try to understand what people are saying and answer as honestly as I can. But sometimes it's like they try to tie you into knots. That's why I mostly steer clear of the popular press. I try not to read . . . Well, I never read gossip press. I just read books. And I never switch on the TV any more.

I really wanted to succeed. I wanted to be accepted. I read every magic book that I possibly could, studied every move, and by the time I was 12, they really accepted me, they embraced me.

I really want to do a True Blood-Six Feet Under comic book crossover.

I really wouldn't classify the books as mysteries. I prefer to say that they're adventures.

[...] "I recall what you said to me once," Will went on. "That words have the power to change us. Your words have changed me, Tess; they have made me a better man than I would have been otherwise. Life is a book, and there are a thousand pages I have not read. I would read them together with you, as many as I can, before I die -

I recommend...bread, meat, vegetables, and beer.

I really wanted to write a book [99: Stories of the Game] on the tradition and history of the league, where kids can pick it up and read it and learn things and say, "Geez, I didn't know that. That's pretty cool.

I really want to do a book on the history of the no-wave music scene in New York, how it extended out and formed lots of other things. It was such a great visual culture.

I recall having read, at the brothers' instance, Madame Blavatsky's Key to Theosophy. This book stimulated in me the desire to read books on Hinduism, and disabused me of the notion fostered by the missionaries that Hinduism was rife with superstition.

I recently forced myself to read a book on quantum physics, just to try and learn something new. I was confused by the middle of the first sentence and it all went downhill from there. The only thing I can remember learning is that a parallel universe can theoretically be contained on the head of a needle. I don't really know what that means, but I am now more careful handling needles.

I recently read in the book My Stroke of Insight by brain scientist Jill Bolte Taylor that the natural life span of an emotion—the average time it takes for it to move through the nervous system and body—is only a minute and a half. After that we need thoughts to keep the emotion rolling. So if we wonder why we lock into painful emotional states like anxiety, depression, or rage, we need look no further than our own endless stream of inner dialogue.

I recently did the David Letterman Show about my book. He was very serious and made no jokes and it caught me off guard a little bit. He was much more serious than some of the joke shows that journalists get on.

I reckon I can count on 30 more writing years, averaging a book a year (I can't keep up the 2-2.5 a year I used to do these days). And these days I've gotten round to wondering, for each new idea, "do I want to be remembered for this?" before I get to the point of spending a year on it.

I recommend Doug Sweeney's recent book [Jonathan] Edwards the Exegete (Oxford University Press, 2015), which is a terrific treatment of the way in which Edwards was steeped in the Bible, so that it shaped the whole of his thinking.

I really want people to read the book, and bookstores never sold an issue of Eightball because nobody knew what it was.

I recall an incident involving the late George Stigler at a conference in Spain in the 1980s. Hearing that I had written a book on reason and natural law, Stigler started to ridicule reason, going so far as to say that there is as much reason in a monkey's antics as in any human act. At that point I asked him whether he was trying to tell me something about how he wrote his books; he gave me a blank stare and stormed out of the room.

I received a grant from The Ford Foundation to write a book for kids about urban perception, or how people experience cities, but I kept putting off writing it. Instead I started to write what became The Phantom Tollbooth

I receive about 10,000 letters a year from readers, and in the first year after a book is published, perhaps 5,000 letters will deal specifically with that piece of work.

I recently bought a book of free verse. For twelve dollars.

I recommend SILENT SPRING above all other books.

I reject the concept that comic books in movies are a genre. I have been fighting that for many years, with the powers-that-be in Hollywood.

I regret all of my books.

Ireland is a wonderful place to write in. Even although the atmosphere was so Faith-laden that I was often worried that I was not writing a book to the glory of God, I had to admit that words flowed from my pen like all-get-out. To be honest, there is nothing to do in Ireland but write.

I regret that he didn't do anything about it, even though he was at least a head taller than me. I wouldn't have minded bleeding at all for one more opportunity to give the kind of Bat Lesson that Finger, Robinson, Sprang and others only dreamed of.

I refuse to censor myself and kids will find their own way to my books and to all of the books that matter to them. As I write more honestly more kids will make their way toward me. And in subverting their repressive parents kids will learn the value of subverting the repressive nature of all authority figures.

I remain a fan of my friend Bret Easton Ellis's 'American Psycho.' I think as a book about New York in the '80s it was pretty excellent.

I remain convinced that the most valuable use of time for a newly published author is to write a second book that's even better than the first, and a third that's better than the second, and on and on.

I remember being shocked when I discovered some of my school pals didn't have books in their homes. I thought it was like not having oxygen, or hot water.

I remember everyone telling me I had to think positive when I was writing my first book. If I believed I could do it, then I could! If I pictured myself published, then it was going to happen! Which sounded great, except...could I do it? If I didn't think I could, was I doomed to fail? What if I was almost totally sure I would fail? I am here to tell you-what matters is sticking with it.

I relished the sweet sense of keeping a unique secret in my mind - a wonderful magical universe that I could go to any time, any place, and no one had to know. It was my personal place, better than any I've read about in any other book. And when I wrote, I was in the process of pulling that personal universe out of nothing and into the cold reality of the greater world.

I rely heavily on Thomas Sowell's magnificent book, Black Rednecks, White Liberals. He points out that blacks in the North perform better, academically, than whites in the South where they did not have much of an emphasis on learning. But please note that I'm not the one making that argument in that section about Michael Moore. And by the way, I'm not a man. White men have done a lot. It's silly to write a book titled, Stupid White Men.

I remember attending Toronto Comicon shortly after the release of Captain Marvel and seeing a five-year-old girl who'd come in a handmade Captain Marvel outfit with her hair moussed up - and I totally got the need for this book, for this hero. Someone who looks like her, and acts like her. So, in a way, Captain Marvel helped pave the road to the expanded role of female leads.

I remember being in the public library and my jaw just aching as I looked around at all those books I wanted to read. There just wasn't time enough to read everything I wanted to read.

I remember as a young child, during one of my frequent trips to the local library, spending hours looking at book after book trying in vain to find one that had my name on it. Because there were so many books in the library, with so many different names on them, I’d assumed that one of them — somewhere — had to be mine. I didn’t understand at the time that a person’s name appears on a book because he or she wrote it. Now that I’m twenty-six I know better. If I were ever going to find my book one day, I was going to have to write it.

I remember being a 12 year old art kid and feeling like there was no exciting art movement happening, especially for somebody like me. I was looking around for artistic inspiration and could find nothing — until my older brother’s friend brought a Giger book over to the house. Upon seeing the first image I knew I would never be the same. A whole new world opened up to me and I have been exploring it ever since. It’s no doubt that I would not be here today, doing what I do, without his influence. H.R. Giger is the king of the Dark Art movement.

I remember finding a Houdini book at the library and seeing an image of him chained on the side of a building. He looked so intense and scary, and I couldnt get that image out of my head. That started building up my love of magic.

I remember having been with this book [Into the Forest] for a long time, and I remember the moment that she [Patricia Rozema] sent me the script and what it was like to read it for the first time. I just was so blown away by how she managed to capture the story and their relationship to each other, and the nuances of that.