Michael Moorcock (Michael John Moorcock) Quotes
Quotes to Explore
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My favorite book is 'Go Away Big Green Monster.' I wrote it for my granddaughter Adrian, who was in the third grade at the time.
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I was raised in Harlem. I never found a book that took place in Harlem. I never had a church like mine in a book. I never had people like the people I knew. People who could not find their lives in books and celebrated felt bad about themselves. I needed to write to include the lives of these young people.
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When you're writing a book, you don't really think about it critically. You don't want to know too well what you're doing. First, you write the book, then you find the justification for it.
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Let us remember: One book, one pen, one child, and one teacher can change the world.
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A person who publishes a book willfully appears before the populace with his pants down. If it is a good book nothing can hurt him. If it is a bad book nothing can help him.
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I think Maus I is better than Maus II. The standard here is whether or not it's as good as a great book of prose literature and by that standard, no, it's not that great.
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I don't know David Cameron very well. I like him. I think you can judge a book by its cover - whoever said you can't is wrong - that's the whole point of nature giving us intuition, instinct and so on. I think the cover is pretty good.
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I read that book, 'Lonesome Dove,' and I told my agent that they were gonna make a miniseries out of it and I wanted to be in it. I didn't care what part.
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I'm trying to convey to my audience that you really can't judge a book by its cover, and there's more to the universe than you can see with your eyes.
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The most important thing about Spaceship Earth - an instruction book didn't come with it.
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I have only ever read one book in my life, and that is White Fang. It's so frightfully good I've never bothered to read another.
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It's hard to see a film that's been made from a book that you really loved because it's such a different experience.
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There was a manifesto in the late '60s/early '70s, and it basically laid out what 'black art' was and that it should embrace black history and black culture. There were all these rules - I was shocked, when I found it in a book, that it even existed, that it would demarcate these artists.
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Former Dublin newsman Paul Lynch made his debut as a novelist a few years ago with a book called 'Red Sky in Morning,' set in mid-19th century County Donegal, where a rage-driven farmer has committed a murder with devastating results.
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Which is - you know, like check it out, I'm pretty young, I'm only about 40 years old. I still have maybe another four decades of work left in me. And it's exceedingly likely that anything I write from this point forward is going to be judged by the world as the work that came after the freakish success of my last book, right?
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The Little Friend is a long book. It's also completely different from my first novel: different landscape, different characters, different use of language and diction, different approach to story.
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One of the things I would love to do is 'Axe Cop,' which is a comic book. I would like to be involved in 'Axe Cop' someday. I would also love to be in a Western.
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Be it a video game, comic book, or cheque book, the question always is, 'What story do you have to tell?'
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I've played sports pretty much my whole life, and that teaches you how to work with anyone, whether you like that person or you don't, and whether you get along with them or you don't. The circumstances don't matter. Team work is part of life.
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Growing up, I watched shows such as 'Blackadder' and 'Monty Python' with my parents.
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Ruins provide the incentive for restoration, and for a return to origins. There has to be an interim of death or rejection before there can be renewal and reform.
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Excessive speed and quantity are, like chattiness and digression, besetting sins of cyber-assisted authorship.
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The book trade invented literary prizes to stimulate sales, not to reward merit.
