Ishvara is the highest manifestation of the Absolute Reality, or in other words, the highest possible reading of the Absolute by the human mind. Creation is eternal, and so also is Ishvara.
Yet, I had nothing else to tell; unless, indeed, I were to confess (which might be of less moment still), that no one can ever believe this Narrative, in the reading, more than I believed it in the writing.
A lot of actors choose parts by the scripts, but I don't trust reading the scripts that much. I try to get some friends together and read a script aloud. Sometimes I read scripts and record them and play them back to see if there's a movie. It's very evocative; it's like a first cut because you hear 'She walked to the door,' and you visualize all these things. 'She opens the door' . . . because you read the stage directions, too.
You will, I am sure, agree with me that... if page 534 only finds us in the second chapter, the length of the first one must have been really intolerable.
I really don't watch enough TV to know about the impact. In my experience as a TV writer, I would say is the exact opposite - it's very constricted, all having to conform to a form. My sense of fiction writing is not to think about rules but to be driven by the characters and their stories. I often ask myself what's at risk here, who needs what, and how are they going to get it. There has to be a reason for the reader to stop living their own life and start reading your book.
We want our teachers to be trained so they can meet the obligations, their obligations as teachers. We want them to know how to teach the science of reading. In order to make sure there's not this kind of federal-federal cufflink.
It was love, she thought, love that never clutch its object; but, like the love which mathematicians bear their symbols, or poets their phrases, was meant to be spread over the world and become part of human gain. The world by all means should have shared it, could Mr Bankes have said why that woman pleased him so; why the sight of her reading a fairy tale to her boy had upon him precisely the same effect as the solution of a scientific problem.
I believe in open government. I've always believed in open government. I don't e-mail, however. And there's a reason: I don't want you reading my personal stuff.
A learned man is a sedentary, concentrated solitary enthusiast, who searches through books to discover some particular grain of truth upon which he has set his heart. If the passion for reading conquers him, his gains dwindle and vanish between his fingers. A reader, on the other hand, must check the desire for learning at the outset; if knowledge sticks to him well and good, but to go in pursuit of it, to read on a system, to become a specialist or an authority, is very apt to kill what suits us to consider the more humane passion for pure and disinterested reading.
I've been reading reviews of my stories for twenty-five years, and can't remember a single useful point in any of them, or the slightest good advice. The only reviewer who ever made an impression on me was Skabichevsky, who prophesied that I would die drunk in the bottom of a ditch.
I've learned mainly by reading myself. So I don't think I have any original ideas. Certainly, I talk about reading Graham. I've read Phil Fisher. So I've gotten a lot of my ideas from reading. You can learn a lot from other people. In fact, I think if you learn basically from other people, you don't have to get too many new ideas on your own. You can just apply the best of what you see.
The truth is we're all probably more creative than we realize, except we spend our lives watching TV or reading somebody else's book. We never pick up a brush and stand in front of our own easel.
There is then creative reading as well as creative writing. When the mind is braced by labor and invention, the page of whatever book we read becomes luminous with manifold allusion. Every sentence is doubly significant, and the sense of our author is as broad as the world.