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Reader Quotes

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Reader Quotes

“Our time and attention is scarce. Art is not that important to us, no matter what we might like to believe... Our love of art is often quite temporary, dependent upon our moods, and our love of art is subservient to our demand for a positive self image. How we look at art should account for those imperfections and work around them. Keep in mind that books, like art museums, are not always geared to the desires of the reader. Maybe we think we are supposed to like tough books, but are we? Who says? Many writers (and art museums) produce for quite a small subsample of the... public.”

“Poems very seldom consist of poetry and nothing else; and pleasure can be derived also from their other ingredients. I am convinced that most readers, when they think they are admiring poetry, are deceived by inability to analyse their sensations, and that they are really admiring, not the poetry of the passage before them, but something else in it, which they like better than poetry.”

“A writer is someone who tells you one thing so someday he can tell his readers another thing: what he was thinking but declined to say, or what he would have thought had he been wiser. A writer turns his life into material, and if you're in his life, he uses yours, too.”

“The poet presents the imagination with images from life and human characters and situations, sets them all in motion and leaves itto the beholder to let these images take his thoughts as far as his mental powers will permit. This is why he is able to engage men of the most differing capabilities, indeed fools and sages together. The philosopher, on the other hand, presents not life itself but the finished thoughts which he has abstracted from it and then demands that the reader should think precisely as, and precisely as far as, he himself thinks. That is why his public is so small.”

“God is a spirit. Jesus was led up of the Spirit to be tempted of the Devil; and it is also true that spirits are very likely to lead men to the Devil. Too intimate acquaintance with whisky toddy overnight is often followed by the delirium tremens and blue-devils on the morrow. We advise our readers to eschew alike spirituous and spiritual mixtures. They interfere sadly with sober thinking, and play the Devil with your brains.”

“If writing is thinking and discovery and selection and order and meaning, it is also awe and reverence and mystery and magic....Authors arrive at text and subtext in thousands of ways, learning each time they begin anew how to recognize a valuable idea and how to reader the texture that accompanies, reveals or displays it to its best advantage.”

“[Comics is] one of the last havens for honesty when it comes to a reader's genuine response to art. Most of us, if we don't find any sympathy or pleasure, for example, in a modern painting, are likely to blame our own ignorance of the history and theory of painting. But nobody pretends to like a bad comic strip. Such harshness is necessary for any real truth to surface, I think, and for art to really contribute anything to life. Though I don't know. I could be wrong.”

“Steinberg occupies a position that is very dear to those of us who've held it over the years: sports columnist at The Post. If all he wants to do is be popular--and I think Dan is better than that--then the readers of The Washington Post sports section won't be very well served. Telling readers how great they are as sports fans was never one of my priorities. The only thing worse than people who can't stand to hear an unpopular or unflattering opinion is those that are too afraid to state one.”

“I'm not a writer who's preaching some particular philosophy or something but the big questions do concern me and I like to make my readers think and debate and argue with each other and look at some aspect of the world or some act of governance or war or power and have an angle they haven't considered before, and that's something I strive for and hopefully have accomplished.”

“Write what you want to read. So many people think they need to write a particular kind of book, or imitate a successful style, in order to be published. I've known people who felt they had to model their book on existing blockbusters, or write in a genre that's supposed to be "hot right now" in order to get agents and publishers interested. But if you're writing in a genre you don't like, or modeling yourself on a book you don't respect, it'll show through. You're your first, most important reader, so write the book that reader really wants to read.”

“I am always interested in the ways of scoring the sound of the poem, especially a poem with long lines. Spaces within a line, double colons, slashes, are indications of pause, of breath, of urgency, they are not metrically exact as in a musical notation but they serve (I hope) to make the reader think about the sound of the poem - just as traffic symbols, when driving, make us almost unconsciously aware of a steep hill, an intersection, an icy bridge etc.”

“Intellectual culture seems to separate high art from low art. Low art is horror or pornography or anything that has a physical component to it and engages the reader on a visceral level and evokes a strong sympathetic reaction. High art is people driving in Volvos and talking a lot. I just don't want to keep those things separate. I think you can use visceral physical experiences to illustrate larger ideas, whether they're emotional or spiritual. I'm trying to not exclude high and low art or separate them.”

“There are many readers of the book, who don't know anything about the authors and the artists. There is more than one author. It doesn't matter, if you can't make the reader dive into the story and surround him with that environment and those characters. That's an experience that lasts longer than figuring out who did what. I think that's what makes our working relationship better, it helps us to make a book that feels unique and not like different voices.”

“No matter what I've written, someone somewhere has come up to me and said, "Me too." The truth can be offensive, but it's always nourishing, in a way. You recognize it. You can feel it. And even if [readers] think, "My god, I would never get in those situations," within those ridiculous circumstances that I have created for myself, they know the way I respond is probably what they would do too.”

“I wanted to do something different. Therefore, the first person I thought would have been too exclusionary. It would have said me, me, me, me, me. I, I, I, I, I. As if I were pushing away my experiences from the experiences of others. Because basically what I was trying to do was show our commonality. I mean to say, in the very ordinariness of what I recount I think perhaps the reader will find resonances with his or her own life.”

“I try to write about complex issues--young people in an adult world-- full of irony and contradiction in a narrative style that relies heavily on suspense with a texture rich in emotion and imagery. I take a great deal of satisfaction in using popular forms-- the adventure, the mystery, the thriller-- so as to hold my reader with the sheer pleasure of a good story. At the same time I try to resolve my books with an ambiguity that compels engagement. In short, I want my readers to feel, to think, sometimes to laugh. But most of all I want them to enjoy a good read.”