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Reader Quotes

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Reader Quotes

“So, what we do in Love Dare for Parents is walk through the principles that help you win the hearts of your children and find that balance as a parent. As we all know, parenting can be wonderful and exasperating at times. So, we walk through the principles of demonstrating love to your kids in the most appropriate and healthy ways. We learned a great deal doing it and we believe the readers will too.”

“News is like the tilefish which appears in great schools off the Atlantic Coast some years and then vanishes, no one knows whither or for how long. Newspapers might employ these periods searching for the breeding grounds of news, but they prefer to fill up with stories about Kurdled Kurds or Calvin Coolidge, until the banks close or a Hitler marches, when they are as surprised as their readers.”

“The problem with kitsch is that it is all too profound, manipulating deep libidinal and ideological forces, while true art knows how to remain at the surface, how to subtract it's subject from it's deepest context of historical reality. The same goes for contemporary art, where we often encounter brutal attempts to return to the Real, to remind the spectator or reader that he is perceiving a fiction, to awaken him from a sweet dream.”

“Finally I do like best of all stories whose necessity is in the implied recognition that someplace out there there exists an urgency-a chaos-, an insanity, a misrule of some dire sort which can end life as we know it but for the fact that this very story is written, this order found, this style determined, the worst averted, and we are beneficiaries of that order by being readers”

“All spiritual growth comes from reading and reflection. By reading we learn what we did not know; by reflection we retain what we have learned. The conscientious reader will be more concerned to carry out what he has read than merely to acquire knowledge of it. In reading we aim at knowing, but we must put into practice what we have learned in our course of study.”

“I only know what it's like to be an author with social media. I can't compare. I do think we lose the mystery of the author. Today, I get tons of e-mails and Facebook messages from readers, and my goal with Twitter and Facebook is, if someone reaches out to me, I'm going to respond to them. I don't want to be an elitist author who is untouchable. I'm just a regular person, too. I will always respond to everybody.”

“Singularity theory is something that I do believe will come to pass, sooner or later, although whether or not in our lifetime I don't know, and I'm not sitting around waiting for my father to be resurrected. Readers probably have the impression from the book that I'm a lot more a of a techno kook than I actually am. It became a convenient fulcrum in the story, sort of a kaleidoscope through which to address religious and spiritual questions.”

“I allude to Back to the Future in the 1985 story to let folks know it was an inspiration and because it literally was the most time-travelly bit of pop culture we had in the mid 80's. I can talk about their tools for considering change. First, the book is metafictive in a traditional sense where I'm showing and telling the reader that the act of writing and reading is a reflexive way to push boundaries of real and literal time travel. Writers and readers are time travellers. The question is what we do with that time we traveled when we leave a book, leave a page.”

“A word, and all the infinite fluctuations it may possess. Like that moment when you know you have something to say, and you know you're speaking, even, but you still have no idea how you will say it. Or the moment when, as a reader, you're reading, and you are understanding what you are reading, but still have utterly no idea what will come next for you, what precisely the author wants to say. For me, that is the ultimate level of literary depth, of literary density.”

“Like when you pick up a book and you don't realize what type of text it is - it could be an essay, a novel, a biography - and at one point you realize you don't know where, as a reader, you want to be. Where are you going with this text? What is the goal? How are you supposed to interpret what you're reading? And people's responses vary - some dislike it, and are put off by the confusion, the lack of comprehension.”

“When I use a name or place, I want to leave the reader open to the waterfall of determinacy that it may provoke. And I don't know, but I must mention the name Borges. I try to mention it in every one of my works. It's a mark, a stamp, a sort of homage to Argentinidad. But it's an homage that works through pat phrases, those stock images that populate his work: the night, labyrinths, libraries. That is, I don't want simply to pay homage to Borges, but rather the contrary: to recall his commonplaces.”

“Not to any really influential effect, but certainly there have been comments that have surprised me. It's surprising sometimes to get particular perspectives on your work, and it's enlightening sometimes to know that non-writers and readers out there have certain assumptions about everything that I both want to keep in mind and want to forget about why I write, and about the connection between me as a private person and the stuff that I think about on the page.”

“I don't revise a lot when writing short stories. As far as the novel, I definitely thought more about plot. Honestly, I'm still pretty confused about what "plot" means. I've been reading some of my Goodreads reviews and one reader noted that the The Last Days of California "reads like a short story stretched to the breaking point, padded and brought into novel range..." I don't know what people want, really.”

“I don't think we need a critic to negotiate with the audience. People say, "Who are you writing for?" I'm writing for myself but my audience is anybody who knows how to read. I think a story should engage anybody who knows how to read. And I hope that my stories do, maybe on a different level for more sophisticated readers than, say, a high school kid, but still a story has got to grab you. That's why we read it.”

“Fiction is more dangerous than nonfiction because it can seduce better. I think we all know this, know that deeper truths can be approached in fiction than in fact. There are risks for the reader, because after reading certain books you find you have changed irreversibly. There are risks for writers: in China, now, and Ethiopia and other countries right now, writers face real persecution.”

“I have three boys. And I wanted to make sure it connected with them and then those guys who grew up like me, in environments like me.And then I knew something about science that your New York Times reader would be interested in. So I was thinking about it in multiple ways: I'll connect with the people who grew up like me first, and then the New York Times reader will be interested in the science because it's so good and they want to be "in the know."”

“I grew up reading crime fiction mysteries, true crime - a lot of true crime - and it is traditionally a male dominated field from the outside, but from the inside what we know, those of us who read it, is that women buy the most crime fiction, they are by far the biggest readers of true crime, and there's a voracious appetite among women for these stories, and I know I feel it - since I was quite small I wanted to go to those dark places.”

“Joyce's writing in Dubliners contains some of the most unshowily beautiful sentences in the English language. I learned from him that if you write a good, clean line of English, you can get under a reader's skin. The reader won't even know why, but there you are. Didion, Berger, the many others I mentioned above, and many, many poets I haven't mentioned. Writers of this calibre are the moving targets the rest of us are always chasing.”

“You know, my problem with most screenwriting is it is a blueprint. It's like they're afraid to write the damn thing. And I'm a writer. That's what I do. I want it to be written. I want it to work on the page first and foremost. So when I'm writing the script, I'm not thinking about the viewer watching the movie. I'm thinking about the reader reading the script.”

“I wouldn't have thought that the techniques of story-telling, which is what the novel is after all, can vary much because there are two things involved.There's a story and there's a listener, whose attention you have to keep. Now the only way in which you can keep a reader's attention to a story is in his wanting to know what is going to happen next. This puts a fairly close restriction on the method you must use.”

“I know "accessibility" is a term that's kind of thrown around wantonly today, especially with talking about visual media. But I think that the strength of comics [is how they] really allow you to transcend those last barriers between a reader absorbing the information of an experience, and a reader being able to project themselves into the [experience of the] people about whom they're reading.”

“The minute you finish a piece of writing it doesn't belong to you, you don't write it any more, it belongs to you, the reader, the listener, the audience. So the less you know about whether or not this is me talking about my life or this is me talking about your life, I think the better. Then it can belong to you and it can live outside of the moment in which it was conceived.”

“It is always just telling a story, regardless of the age of the reader. Except, if I'm writing something for kids, I know there has to be hope. I don't necessarily feel that responsibility for adults, but I emphatically feel it for children. That's the only difference. There's no syntax difference. There's no semantics difference. There's no thematic difference.”

“I don't know that I had a sense that there was such a thing as "the poetry world" in the 1960s and early 70s. Maybe poets did, but for me as an onlooker and reader of poetry, poetry felt like it was part of a larger literary world. I mean, even the phrase "the poetry world" reflects a sort of balkanization of American literary and artistic life that has to some extent happened since then.”

“Since I started as a comic person then became a musician to me it was interesting because I have this really great, interesting fanbase that's really smart and energetic and uh how could I steer them towards a medium that shaped who I was? You know, steer them toward comics. That was really the goal, to bring a lot of readers cuz they were reading a lot of comics but most of them hadn't been reading American comics, they'd be reading manga sitting on the floor of a Barnes and Noble.”

“It's an important moment as a reader, I think, when you can forget the question of whether you need to know what happened. Some people really want hard explanations. I'm the other way. I like mysteries. I don't want to frustrate people. I don't want people to feel like they got no answers, but I want to approach the mystery and sit with it.”