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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When you do scenes that are just exposition, they feel false.
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I always want to approach records from where it feels very graspable. You know what the song's about, but it's presented to you in a way that's like, 'I never heard something like this before,' but it doesn't push you away.
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I'm a jet jockey and I've always escaped ever since I was a kid. I've always been a weekend type runaway person. Work hard, play hard type thing. It's not been a mid-life thing at all, it's been a habit because I think it changes your environment and how you feel even if it's for the day. It's a good thing.
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The army will hear nothing of politics from me and in return I expect to hear nothing of politics from the army.
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I tell people, 'I was born in a little house at the dead end of a dirt road that had no name and no number, and you can go anywhere from nowhere.'
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The book trade invented literary prizes to stimulate sales, not to reward merit.
