Best 19526 quotes in «book quotes» category

What is most appalling in an F. Scott Fitzgerald book is that it is peopleless fiction: Fitzgerald writes about spectral, muscledsuits; dresses, hats, and sleeves which have some sort of vague, libidinous throb. These are plainly the product of sickness.

What is new about Barthes's posthumous reputation is the view of him as a writer whose books of criticism and personal musings must be admired as serious and beautiful works of the imagination.

What is so striking in the book of Jeremiah is how many times it is impossible to distinguish between the words of Jeremiah and the words of God, when deep feelings are being expressed. That is probably intentional. The prophet not only speaks what God says, he also feels what God feels. The tears of the prophet are the tears of God.

What I sought in books was imagination. It was depth, depth of thought and feeling; some sort of extreme of subject matter; some nearness to death; some call to courage. I myself was getting wild; I wanted wildness, originality, genius, rapture, hope. ... What I sought in books was a world whose surfaces, whose people and events and days lived, actually matched the exaltation of the interior life. There you could live.

What is the most precious, the most exciting smell awaiting you in the house when you return to it after a dozen years or so? The smell of roses, you think? No, mouldering books.

What is reading but silent conversation?

What is the task of the translator? I think the task depends on the book and on the translator.

What is the use of a book', thought Alice, 'without pictures or conversations?

What is written beneath this heavy handsome book cover will count, so sayeth this cover.

What is this obsession people have with books? They put them in their houses like they're trophies. What do you need it for after you read it?

What I think of sometimes, as I read the new books - do kids really need to see such a seamy side of life? I'm in the minority, such an old woman, perhaps. I love the books that have given kids joy, that give them hope at the end. Sometimes it seems to me the books right now are very depressive.

What I think happens, and that you have to acknowledge though, is that a director uses a book as a launching pad for his own work and that's always very flattering.

What I've done for the last ten years is develop high profile entertainment properties for animation, so it's kind of funny to be able to create my own book to already know how I'd want to develop it for animation and live action.

What I want to do is tell stories about normal people in the American suburbs. I don't write the book where it's a conspiracy reaching the prime minister; I don't write the book with the big serial killer who lops off heads. My setting is a very placid pool of suburbia, family life. And within that I can make pretty big splashes.

What I was reading was already part of my psyche, but finally someone else was saying it's okay to walk alone.

What I think is interesting is that the more you do, you have to invent a book of rules of what you can do and what you can't do. And the very real danger is that if your book of rules becomes a book of cliches.

What I've learned from my gurus is that when you hear music, you hear a person, or you hear people, and you hear everything about them in those moments. They reveal themselves in ways that cannot be revealed any other way, and it contains historical truths because of that. To me, that is the most important thing. It shouldn't be a footnote, or the last chapter. It should be the complete thesis about a book on listening.

What I wish I had said in the book [Falling Upward] is that part of the attraction of conservative religions, such as Mormonism, Mennonite, Amish, groups we would consider very traditional, is that they actually do the first half of life very well. They are often very happy people.

What I wish is that people would look beyond the tribbles and see I've written some other books that I really would like people to notice. There's The Man Who Folded Himself, there's The Martian Child, which is about my son and the adoption. There's The War Against The Chtorr, which is my magnum opus, my great epic story.

What I try to do in the book is to trace the chain of relationships running from elementary particles, fundamental building blocks of matter everywhere in the universe, such as quarks, all the way to complex entities, and in particular complex adaptive system like jaguars.

What I've always tried to find in my books are points at which the private lives of the characters, and also my own, intersect with the public life of the culture.

What I've discovered more recently is copies of books that I didn't represent, but that my boss represented when I assisted her on the dollar pile. I won't mention any names, but it is this profoundly bittersweet time of realizing, "Oh, I had a wonderful time working on this book and now it is a dollar relic on the side of the road.

What I will be remembered for are the Foundation Trilogy and the Three Laws of Robotics. What I want to be remembered for is no one book, or no dozen books. Any single thing I have written can be paralleled or even surpassed by something someone else has done. However, my total corpus for quantity, quality and variety can be duplicated by no one else. That is what I want to be remembered for.

What kind of thoughtless creep would burn a book?

What made Leonardo da Vinci, Thomas Edison and Albert Einstein such creative geniuses? It wasn't reading books or watching YouTube talks about How To Be More Creative, that's for sure... If startling insights could be systematically arrived at, they wouldn't be startling. The best you can do is to create a conducive environment: put in the hours; take time to daydream; avoid mind-corroding substances.

What I would really love to happen to me would be if I came upon an idea that would keep me busy until I die so I wouldn't have to go through the business of thinking up a new book. But I wouldn't mind writing a long book which is going to occupy me for the rest of my life.

What makes a book great, a so-called classic, it its quality of always being modern, of its author, though he be long dead, continuing to speak to each new generation.

What I would like to write is a book about nothing, a book without exterior attachments, which would be held together by the innerforce of its style, as the earth without support is held in the air--a book that would have almost no subject or at least in which the subject would be almost invisible.

What keeps me awake at the wheel is the thrill of trying something completely new with each book. I’m not a risk-taker in life, generally speaking, but as a writer I definitely choose the fast car, the impossible rock face, the free fall.

What keeps this industry alive is creators doing their own work. Once you change a costume or origin enough times, it's a dead body - you're just electrocuting it and keeping it sort of shambling on. There is a lot more creator-owned stuff now, and some of it I look at and go, 'Oh, that's his pitch for a TV show. That's his pitch for a movie. That's him saying oh, this kind of thing sells.' I didn't do that.

What makes a good book? Scholars and critics have been debating that question for decades. I like books that touch my head and my heart at the same time.

What le Carré is so good at is unpicking something very specific about Englishness. That is almost part of why I think he wrote the novel. You can feel le Carré's anger that someone who has had the benefits of an English education and an English upbringing is using that privilege to basically do the worst things imaginable. There is an anger in the book about that.

What makes a good book and what makes a good movie are totally different things.

What more could one ask of a companion? To be forever new and yet forever steady, to be strange and familiar all at once, with enough change to quicken my mind, enough steadiness to give sanctuary to my heart. The books on my shelf never asked to come together and they would not trust or want to listen to one another. But each is a piece of a stained-glass whole, without which I wouldn’t make sense to myself or to the world outside.

What many people don't know about 'Peter Pan' is that it's a very violent book and Hook is one of the most finely observed villains ever.

What more do I need to say? Conservative books sell. I can't help it if liberal books don't sell.

What more powerful form of study of mankind could there be than to read our own instruction book?

What occurs to people when they read Kurt [Vonnegut] is that things are much more up for grabs than they thought they were. The world is a slightly different place just because they read a damn book. Imagine that.

What on earth could be more luxurious than a sofa, a book, and a cup of coffee?...Was ever anything so civil?

What Orwell feared were those who would ban books. What Huxley feared was that there would be no reason to ban a book, for there would be no one who wanted to read one. Orwell feared those who would deprive us of information. Huxley feared those who would give us so much that we would be reduced to passivity and egoism. Orwell feared that the truth would be concealed from us. Huxley feared the truth would be drowned in a sea of irrelevance.

What on earth have you packed in here? Bricks?" asked Mo as he carried Meggie's book-box out of the house. You're the one who says books have to be heavy because the whole world's inside them," said Meggie.

What one knows best is ... what one has learned not from books but as a result of books, through the reflections to which they have given rise.

What necessity impels a writer who has produced fifty books to write still one more? Why this proliferation, this fear of being forgotten, this debased coquetry?

What people value in their books—and thus what they count as literature—really tells you more about them than it does about the book.

What progress we are making. In the Middle Ages they would have burned me. Now they are content with burning my books.

What really grabs me is when a reader writes to express her personal story and how a book helped her situation, or her acceptance of a situation she can't change. I read some sad cases in my snail and electronic mail. I respond to all I can, affirming that they are the true heroes of life because they are fighting through adversity and surviving.

What refuge is there for the victim who is oppressed with the feeling that there are a thousand new books he ought to read, while life is only long enough for him to attempt to read a hundred?

What President Obama has done so masterfully of late is to say, in so many words, "I'm signing this executive order permitting federal funding for stem cell research, but I realize that many good, moral people are opposed to this, and I don't take that lightly." I think we can be more civil and empathetic in our discussions of public policy, and I hope my book can be a contribution to that tone.

What readers ask nowadays in a book is that it should improve, instruct, and elevate. This book wouldn't elevate a cow.

What's crazy is living your life according to some book written by someone who couldn't imagine what your life would be like.