Book Quotes
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I love books that create worlds for me that I don't want to leave. I recently lost my entire life to Haruki Murakami - 1Q84. I tell people that book ruined my life in the best possible way. I couldn't think of anything else for weeks after I read it.
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That endless book, the newspaper, is our national glory.
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I do the same kind of rewriting that I do in the shorts that I do in long books - and that is a lot. The book really comes to life in the rewriting.
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WE'VE BEEN READING THE MÖTLEY CRÜE BOOK. THATS OUR HOLY BIBLE.
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God forbid that I should ever suffer the shame of publishing a book for money, or of having one of my family so demean themselves. How can one tell who might read it? No worthy book has ever been written for gain, I think.
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A specific editor in a specific place likes the book, and you're in. A different editor on a different day goes, 'Oh, this isn't for me', or doesn't even look at it, and that's it.
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I just sort of write the book I feel like writing given the emotional place I am in my life at the time.
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I remember how a man once got in touch with me to tell me that he was so engrossed in my book that he had to take a day off from work just so that he could finish reading it. Such kind of responses from my readers is extremely endearing, and it keeps me going.
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Perhaps nothing is more magical then the book. Paper, glue and some words and you are taken away from where you sit, stand, dance, or lean.
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I wrote a little autobiography about how luck has to do with everything. It's called 'My Lucky Life In and Out of Show Business.' A publisher came to me and said, 'Write a book,' so I did. I wanted to call it 'Everybody Else Has Got a Book.'
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To be honest, I chose romance because writing a book seemed so dauntingly long. I looked around for something short, discovered Harlequin romances, and decided to read a few to see if I could do it.
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I'm publicizing the book that's done. I'm writing the book that's in the hopper, and I'm doing a little advance research on the book to come.
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In a way, 'Sin City's designed to be paced somewhere between an American comic book and Japanese manga. Working in black and white, I realized that the eye is less patient, and you have to make your point, and sometimes repeat it. Slowing things down is harder in black and white, because there isn't as much for the eye to enjoy.
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The art of the three-minute song is more like journalism than writing a big 400-page book. You want to be brief, you want to make sense right yen and there. And sometimes that takes a bit of work.
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Reading is a lot like eating for me: If I try to read a book I'm not hungry for, I won't enjoy it, but if I wait until I have a real appetite for something, I'll devour it.
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Really, when I write a book I'm the only one I have to please. That's the beauty of writing a book instead of a screenplay.
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I'd rather write one good book than ten mediocre ones.
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A book is not merely a fossil or treasure from some phase of the past. It's right reading - not the words from without, but the thought from within - it is a spell by which you may recall the past, re-enter it when you will.
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I am disappointed by this controversy surrounding A Million Little Pieces because I rely on the publishers to define the category that a book falls within and also the authenticity of the work.
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I haven't yet written a book in a far-future utopia, where all bad things are eliminated, but it would be fun to do that one day and introduce some subversion.
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For many, the recent disclosure of massive warrantless surveillance programs of all citizens by the Obama administration has brought back memories of George Orwell's '1984.' Another Orwell book seems more apt as the White House and its allies try to contain the scandal: 'Animal Farm.'
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I'd say the purest experience for the movie is not to have read the book because I think when you've read the book you're just ticking off boxes. I think that after you see the movie, reading the book is a cool thing. I always say the movie's not meant to replace the book. That's ridiculous. I'm a huge fan of the book.
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I have taught the long poem off and on for years. The more book-length poems I read and studied and taught the more interested I was in the possibilities in writing a poetry that applied formal and substantive options of narrative and non-narrative, lyric and non-lyric. I found many pleasures in this kind of writing. The long poem is as old as the art form.
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I always write authors after I read their books. I've been doing it for years. I write a formal letter and send it to them in care of their agent. My mother always taught us to write thank you notes, and if an author puts themselves out there, they like to hear that their book connected with someone.
