Best 19526 quotes in «book quotes» category

My weak suit is whatever each reader hates about each book.

My visions and fantasies are pretty standard. The only difference is I got to do it, while most of us haven't. Beyond that, I'm a pretty standard guy. Give me a gal with a sense of humor, acidic wit, who's read a few books and has a body like a Swedish speed skater, and I'm quite content.

My wanting to write books annihilates the original root impulse that would have me bravely and blunderingly working on them.

My website, my email magazine, my blog, my books, my corporate seminars, and my public seminars all create the ability for social media to work and all build reputation and ranking.

My way of writing a book is completely disorganized - to hurl myself at the problem, over and over.

My website inspired me to create my book club and provides me with a creative outlet where I can write about things that interest me. It's a platform where I can present ideas or new ventures and get feedback straight from the people who mean the most to me.

My wife gave me a book before we got married, Oh, the Places You'll Go!, by Dr. Seuss. She was trying to tell me something, about what I was capable of, but I didn't get it. Over time, I've sort of lived the message in that book, and I couldn't have without what golf taught me. So I put it in my bag while I played the Old Course, and on the last hole when I posed on the Swilcan Bridge, I held it up.

My whole thing is, I collect what I know I want to read, and I have certain bookshelves in my bedroom that contain all the books I haven't read yet.

My whole outlook on life is, never judge a book by its cover.

My wife and I love to read. Were going to have to move out to make room for the books! And we have our dogs.

My wife calls me the Imelda Marcos of books. As soon as a book enters our home it is guaranteed a permanent place in our lives. Because I have never been able to part with even one, they have gradually accumulated like sediment.

My wife, Amanda, is terribly good at warping reality. She is like a bowling ball on a rubber sheet, and you find yourself living in her universe, doing things that are completely unexpected or unimaginable for you, but you blink and you're up on a stage singing, or wearing a peculiar wig, or writing a book filled with feelings and emotion, or doing something equally as unlikely.

My wife and I, we work together. And we wrote this book, "Dad Is Fat." And in the book, I was encouraged constantly by my editor to be more personal and talk about more personal experiences.

My writing has developed drastically . The Return of the Prodigal Son is the most important thing I've done, and my most mature book.

My work in books, films and talks lies almost wholly with children, and I have very little time to give to grown-ups.

My work is very dear to me, and certainly I have had all the emotional highs and lows that go with trying to get it to an audience. But I do have some kind of detachment that seems somewhat unusual in my trade. I'm a writer who writes every day. I don't have a period of months where I can't get anything done and I wander around tearing my hair out. When I come back from a book tour, for instance, I might have one day where I sleep late and then check my e-mail, and then go for a walk, and then the next day I'm really itching to get back at writing a story.

My workspace is defined by books, ephemera, quiet and light. I don't have a computer, telephone or a fax machine there.

My worldview comes from a collection of the books I have read, the people I have met, and my conversations with my dad.

My writing, I am prepared to think, may be a substitute for something I have been born without - a so-called normal relation to society. My books are my relation to society.

My work is very eclectic. I write books that range from writing fiction, writing fable where I am very directly trying to imagine alternate worlds, to writing about [Buckminster] Fuller who was the ultimate world man creating all sorts of alternate worlds and believing that they were imminent to my own work of - for instance, a project that I've been working on for some year and a half, two years now that continues to evolve has been what I call Deep Time Photography.

My work stops at publication. If the books don't contain in themselves their reasons for being - questions and answers - it means I was wrong to have them published.

My working-class Italian-American parents didn't go to school, there were no books in the house.

My writing has to support more than my research habit, but I love to curl up with a book about some dusty corner of history.

My writing is of a very different kind from anything I've heard about. All this mythological material is out there, a big gathering of stuff, and I have been reading it for some forty- or fifty-odd years. There are various ways of handling that. The most common is to put the material together and publish a scholarly book about it. But when I'm writing, I try to get a sense of an experiential relationship to the material. In fact, I can't write unless that happens ... I don't write unless the stuff is really working on me, and my selection of material depends on what works.

Napoleon: You have written this huge book on the system of the world without once mentioning the author of the universe. Laplace: Sire, I had no need of that hypothesis. Later when told by Napoleon about the incident, Lagrange commented: Ah, but that is a fine hypothesis. It explains so many things.

Name the book that made the biggest impression on you. I bet you read it before you hit puberty. In the time I've got left, I intend to write artistic books - for kids - because they're still open to new ideas.

Natalie Spenser was giving a dinner. She was not an easy hostess.

My youngest brother had a wonderful schtick from some time in high school, through to graduating medicine. He had a card in his wallet that read, ‘If I am found with amnesia, please give me the following books to read …’ And it listed half a dozen books where he longed to recapture that first glorious sense of needing to find out ‘what happens next’ … the feeling that keeps you up half the night. The feeling that comes before the plot’s been learned.

Nature and books belong to the eyes that see them.

Naturally, everything depends on one's background books and on what one is looking for.

Nature and books belong to the eyes that see them. It depends on the mood of the man, whether he shall see the sunset or the fine poem. There are always sunsets, and there is always genius; but only a few hours so serene that we can relish nature or criticism. The more or less depends on structure or temperament. Temperament is the iron wire on which the beads are strung. Of what use is fortune or talent to a cold and defective store?

Nature is, after all, the only book that offers important content on every page.

Nature is a book of many pages and each page tells a fascinating story to him who learns her language. Our fertile valleys and craggy mountains recite an epic poem of geologic conflicts. The starry sky reveal gigantic suns and space and time without end.

Nature is man's religious book, with lessons for every day.

Nature is a book, a letter, a fairy tale (in the philosophical sense) or whatever you want to call it.

Nature is a language and every new fact one learns is a new word; but it is not a language taken to pieces and dead in the dictionary, but the language put together into a most significant and universal sense. I wish to learn this language - not that I may know a new grammar, but that I may read the great book which is written in that tongue.

Nay, if there be any mistakes in the Bible, there may as well be a thousand. If there be one falsehood in that book, it did not come from the God of truth

Nay, what is worse, perhaps turn poet, which, they say, is an infectious and incurable distemper.

Neither Christ nor Buddha nor Socrates wrote a book, for to do so is to exchange life for a logical process.

Nature's great book is written in mathematics.

Nay, it's not the Devil been leading her astray. It's books! That girl has been nothing but trouble ever since she learned how to read.

Nearly all the writing of our time is likely to disappear in a hundred years. Certainly most readers - and nearly all critics - feel that [Kurt] Vonnegut started to repeat himself, to grow increasingly self-indulgent and meandering, and to sometimes just blather in his later work. But his books up to "Slaughterhouse-Five" do possess a distinctiveness that will insure some kind of permanence, if only in the history of the 1960s and of science fiction.

Nearly all literature, in one sense, is made up of guide-books. Old ones tell us the ways our fathers went, through the thoroughfares and courts of old; but how few of those former places can their posterity trace, amid avenues of modern erections; to how few is the old guide-book now a clew! Every age makes its own guide-books, and the old ones are used for waste paper.

Negro writers, just by being black, have been on the blacklist all our lives. Do you know that there are libraries in our country that will not stock a book by a Negro writer, not even as a gift? There are towns where Negro newspapers and magazines cannot be sold except surreptitiously. There are American magazines that have never published anything by Negroes. There are film studios that have never hired a Negro writer. Censorship for us begins at the color line.

Neither is a dictionary a bad book to read. There is no can't in it, no excess of explanation, and it is full of suggestion, the raw material of possible poems and histories.

Near that a dusty paint-box, some odd hooks, A half-burnt match, an ivory block, three books, Where conic sections, spherics, logarithms, To great Laplace, from Saunderson and Sims, Lie heaped in their harmonious disarray Of figures,-disentangle them who may.

Neither books nor people have Velcro Sides -- there must be a bonding agent -- someone who attaches child to book.

Neiman's book is written with considerable flair, as many critics have already noted, but it possesses a far rarer and more valuable quality: moral seriousness. Her argument builds a powerful emotional force, a sense of deep inevitability. . . . It is not often that a work of such dark conclusions has felt so hopeful and brave.

Neither can embellishments of language be found without arrangement and expression of thoughts, nor can thoughts be made to shine without the light of language.

Neither theological knowledge nor social action alone is enough to keep us in love with Christ unless both are proceeded by a personal encounter with Him. Theological insights are gained not only from between two covers of a book, but from two bent knees before an altar. The Holy Hour becomes like an oxygen tank to revive the breath of the Holy Spirit in the midst of the foul and fetid atmosphere of the world