Book Quotes
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I do have a personal life. I spend half of the week at home. One of those nights, I'll go out with some friends and have a good time. I have a day and a half at home, and love to just sit on my backyard by my pool, read a book, or do some writing. That's my vacation.
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I believe if you can have an open dialogue about anything, whether it's a book or a movie or TV show, it's this door that suddenly opens your mind to new ideas.
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Pictures are very important. I remember at home we had illustrated editions of Rudyard Kipling's 'Just So Stories' and 'The Jungle Book,' which were read to me. Living in Zimbabwe made it very real, especially the 'Just So Stories' with the 'great grey-green greasy Limpopo.'
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I always turn in my books on time, so you can always count on a book coming out when it's supposed to.
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That is part of the beauty of all literature. You discover that your longings are universal longings, that you're not lonely and isolated from anyone. You belong.
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I was going to do a book about the first prearranged Karpov-Kasparov match, '84-'85. But the God-damn Jews have stolen my entire file on that.
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Every book changes my writing because I'm always trying to do something I didn't do before. I try to do what's hard for me, what I haven't done in the past.
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My very first book was a games collection of Anatoly Karpov. On the whole I was attracted by positonal play with some tactics, and already then I was aiming for universality.
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It certainly is my opinion that a book worth reading only in childhood is not worth reading even then.
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I know publishing now more as an author than with occasional peaks inside those elite offices than as an industry insider. It was difficult publishing a novel the first time around, while working behind the scenes, knowing all that has to happen to make a book a success and to still make the leap as an author.
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Anyone who's traveled with me to Afghanistan knows why I love this book: 'War,' by Sebastian Junger.
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I worked on my book for about seven years and I had no idea it would be so timely when it was published.
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I see 'Hansel and Gretel' as a breakthrough book for me, and one of the reasons is because I started to apply meaning to the hidden details.
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I always worried that the creative well would dry up. I was sure that if I wrote a book a year, I would eventually run out of ideas. Actually, the opposite has been true for me. The more I write, the more ideas come to me and it gets easier.
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We are so overwhelmed with quantities of books, that we hardly realise any more that a book can be valuable, valuable like a jewel, or a lovely picture, into which you can look deeper and deeper and get a more profound experience every time.
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I never really considered 'Quantum & Woody' a comedic book or a funny book. I never thought of it as a satire.
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First of all there is always that artistic challenge of creating something. Or the particular experience to take slum life in that period and make something out of it in the form of a book. And then I felt some kind of responsibility to my family.
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I can think of no other experience quite like that of being 20 or so pages into a book and realizing that this is the real thing: a book that is going to offer the delicious promise of a riveting story, arresting language and characters that will haunt me for days.
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I think the players, I put in the book for example that we should go back to wood rackets, probably they laughed at me, I'm a dinosaur, but I think that you see these great players, have even more variety and you see more strategy, there'd be more subtlety.
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If the real world were a book, it would never find a publisher. Overlong, detailed to the point of distraction-and ultimately, without a major resolution.
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With everything that I've done with YouTube and podcasts for so many years, it's been: you can record it, edit, and then upload that day. With the book and documentary, it's been such a longer process.
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In one book, CACHALOT, just for my own amusement, every character is based directly on someone I have known.
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My readers have to work with me to create the experience. They have to bring their imaginations to the story. No one sees a book in the same way, no one sees the characters the same way. As a reader you imagine them in your own mind. So, together, as author and reader, we have both created the story.
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If you were placing bets on which author would write the tenderest, most moving book about fatherhood, Philip Roth would probably come in at the bottom of the list.
