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Materials Quotes

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Materials Quotes

“The materials in I Enoch range in date from 200 B.C.E. to 50 C.E. I Enoch contributes much to intertestamental views of angels, heaven, judgment, resurrection, and the Messiah. This book has left its stamp upon many of the NT writers, especially the author of Revelation.”

“Throughout his last half-dozen books, for example, Arthur Koestler has been conducting a campaign against his own misunderstanding of Darwinism. He hopes to find some ordering force, constraining evolution to certain directions and overriding the influence of natural selection. [...] Darwinism is not the theory of capricious change that Koestler imagines. Random variation may be the raw material of change, but natural selection builds good design by rejecting most variants while accepting and accumulating the few that improve adaptation to local environments.”

“The Sketchnote Handbook is neither about sketching nor is it about note taking. It's about receiving and processing the world in a more complete and insightful way. It's a software upgrade for your brain. For those who've been shamed into thinking that drawing is either beyond them or beneath them, this book offers a whole new way of mastering the daily onslaught of information and turning it into raw material for discovery. (For those of us who've done this all our lives, the book provides a beautifully conceived and lovingly illustrated treat, and a great gift for our left-brained friends.)”

“The story [for the western genre] is everything. Whether it's a book or a screenplay, the story drives everything. And if you just go out and try to make one by putting on boots and jumping on a horse and riding off... If you don't have the material, the characters and the things to overcome and conflicts that give life to drama, you don't have it.”

“Whole great chunks of written history are of little value to the psychohistorian, while other vast areas which have been much neglected by historians - childhood history, content analysis of historical imagery, and so on - suddenly expand from the periphery to the center of the psychohistorian's conceptual world, simply because his or her own new questions require material nowhere to be found in history books.”

“Few of those who fill the world with books, have any pretensions to the hope either of pleasing or instructing. They have often no other task than to lay two books before them, out of which they compile a third, without any new material of their own, and with very little application of judgment to those which former authors have supplied.”

“They are not the best students who are most dependent on books. What can be got out of them is at best only material; a man must build his house for himself.”

“The digital age is for me in many ways about temporal wounding. It's really messed up our ontological clocks. In the digital economy, everything is archived, catalogued, readily available, and yet nothing really endures. The links are digital encryptions that can and won't be located. That will have to be reassembled over time. It won't be exactly what it was. There will be some slightly altered version. So the book is both an immaterial and material artifact.”

“Unlike most readers in Antiquity who read their books aloud, we have developed the convention of reading silently. This lets us read more widely but often less well, especially when what we are reading-such as the plays of Shakespeare and Holy Scripture-is a body of oral material that has been, almost but not quite accidentally, captured in a book like a fly in amber.”

“Writing a book I have found to be like building a house. A man forms a plan, and collects materials. He thinks he has enough to raise a large and stately edifice; but after he has arranged, compacted and polished, his work turns out to be a very small performance. The authour however like the builder, knows how much labour his work has cost him; and therefore estimates it at a higher rate than other people think it deserves”

“The Hawk and the Dove is a wonderful idea for a book, wonderfully carried out. Nicholas Thompson has used illuminating new material to present each of his protagonists in a convincing, respectful, but unsparing way. Even more valuable, he has used the interactions and tensions between Paul Nitze and George Kennan to bring much of American 20th century foreign policy to life, with human richness ever present but with the big issues clear in all their complexity.”

“Love your material. Nothing frightens the inner critic more than the writer who loves her work. The writer who is enamored of her material forgets all about censoring herself. She doesn't stop to wonder if her book is any good, or who will publish it, or what people will think. She writes in a trance, losing track of time, hearing only her characters in her head.”

“In this moment she felt that she had been robbed of an enormous number of valuable things, whether material or intangible: things lost or broken by her own fault, things she had forgotten and left in houses when she moved: books borrowed from her and not returned, journeys she had planned and had not made, words she had waited to hear spoken to her and had not heard, and the words she meant to answer with. . . .”

“It's magical thinking to imagine that the reason unspeakable things are being perpetrated by younger and younger people is that they've fallen under the influence of seductive, lascivious, prurient, and violent material in books, films, television. A great deal of this type of censorship has to do with absolving parents of responsibility - parents who just plop their kids in front of the television and leave them there hour upon hour.”

“What you need to know about the next piece is contained in the last piece. The place to learn about your materials is in the last use of your materials. The place to learn about your execution is in your execution. Put simply, your work is your guide: a complete, comprehensive, limitless reference book on your work.”

“To live fully your well-read life -at any age- it is essential to take your selection of books seriously. When you drift from book to book, you're lulled into thinking that this lack of focus is right and natural - but it's as wrong as can be. Some serendipity in your reading is delightful, but if you wanted to build a house, would you wait for the materials to assemble themselves? - Steve Leveen”

“I might spend 100 pages trying to get to know the world I'm writing about: its contours, who are my main characters, what are their relationships to each other, and just trying to get a sense of what and who this book is about. Usually around that point of 100 pages, I start to feel like I'm lost, I have too much material, it's time to start making some choices. It's typically at that point that I sit down and try to make a formal outline and winnow out what's not working and what I'm most interested in, where the story seems to be going.”

“The difference between real material poison and intellectual poison is that most material poison is disgusting to the taste, but intellectual poison, which takes the form of cheap newspapers or bad books, can unfortunately sometimes be attractive.”

“You have to understand that the Bible is really a library of books and it has different categories of material. There are certain parts which you have to say no to. The Bible accepted slavery. St Paul said women should not speak in church at all and there are people who have used that to say women should not be ordained. There are many things that you shouldn't accept.”

“My father's book is about is about a number of things, but about Houdini's rage to not be a failure like his father, and it's also about converting X-rated material, namely bondage, into family friendly safe fare, which is what he did. It's also about death and resurrection, and rising to live again another day when everyone thinks you're dead.”