an Autobiography is the truest of all books; for while it inevitably consists mainly of extinctions of the truth, shirkings of the truth, partial revealments of the truth, with hardly an instance of plain straight truth, the remorseless truth is there, between the lines, where the author-cat is raking dust upon it which hides from the disinterested spectator neither it nor its smell... the result being that the reader knows the author in spite of his wily diligences.
In company with people of your own trade you ordinarily speak of other writers' books. The better the writers the less they will speak about what they have written themselves. Joyce was a very great writer and he would only explain what he was doing to jerks. Other writers that he respected were supposed to be able to know what he was doing by reading it.
That partially due to the world of media and commerce, the idea of a comic book has been lost in the ghetto, whereas the graphic novel is now being held up as something to aspire to and as something that's respectable for adults to read.
The existence of the Bible, as a book for the people, is the greatest benefit which the human race has ever experienced. Every attempt to belittle it is a crime against humanity.
I had thought for years, probably 30 or 40 years, that it would be a lot of fun to try my hand at a classic English mystery novel... I love that form very much because the reader is so familiar with all of the types of characters that are in there that they already identify with the book.
The BBC came to me and they wanted to adapt the book [Three Musketeers] again, in the straightforward way, and I said no to that. I didn't want to do that. But what I did want to do was have a real look at the adventure genre because I thought it was ripe for reinvention.
If I finish a book a week, I will read only a few thousand books in my lifetime, about a tenth of a percent of the contents of the greatest libraries of our time. The trick is to know which books to read.
We were to found a University magazine. A pair of little, active brothers-Livingstone by name, great skippers on the foot, great rubbers of the hands, who kept a book-shop over against the University building-had been debauched to play the part of publishers. We four were to be conjuct editors and, what was the main point of the concern, to print our own works; while, by every rule of arithmetic-that flatterer of credulity-the adventure must succeed and bring great profit. Well, well: it was a bright vision.
There are many virtues in books, but the essential value is the adding of knowledge to our stock by the record of new facts, and, better, by the record of intuitions which distribute facts, and are the formulas which supersede all histories.
The enormous multiplication of books in every branch of knowledge is one of the greatest evils of this age, since it presents one of the most serious obstacles to the acquisition of correct information by throwing in the reader's way piles of lumber in which he must painfully grope for the scraps of useful matter, peradventure interspersed.
Talent alone cannot make a writer. There must be a man behind the book; a personality which, by birth and quality, is pledged to the doctrines there set forth, and which exists to see and state things so, and not otherwise.
Consider the Koran... this wretched book was sufficient to start a world-religion, to satisfy the metaphysical need of countless millions for twelve hundred years, to become the basis of their morality and of a remarkable contempt for death, and also to inspire them to bloody wars and the most extensive conquests. In this book we find the saddest and poorest form of theism. Much may be lost in translation, but I have not been able to discover in it one single idea of value.
The gospel is not a book; it is a living being, with an action, a power, which invades every thing that opposes its extension, behold! It is upon this table: This book, surpassing all others. I never omit to read it, and every day with some pleasure.
If there's a gun on the wall in act one, scene one, you must fire the gun by act three, scene two. If you fire a gun in act three, scene two, you must see the gun on the wall in act one, scene one.