There is a law written in the darkest of the Books of Life, and it is this: If you look at a thing nine hundred and ninety-nine times, you are perfectly safe; if you look at it the thousandth time, you are in frightful danger of seeing it for the first time.
You that would judge me, do not judge alone this book or that, come to this hallowed place where my friends' portraits hang and look thereon; Ireland's history in their lineaments trace; think where man's glory most begins and ends and say my glory was I had such friends.
I read my own books sometimes to cheer me when it is hard to write, and then I remember that it was always difficult, and how nearly impossible it was sometimes.
When they took a young man into Tellson's London house, they hid him somewhere till he was old. They kept him in a dark place, like a cheese, until he had the full Tellson flavour and blue-mould upon him. Then only was he permitted to be seen, spectacularly poring over large books, and casting his breeches and gaiters into the general weight of the establishment.
At last she shut the book sharply, lay back, and drew a deep breath, expressive of the wonder which always marks the transition from the imaginary world to the real world.
When I take up one of Jane Austen's books ... I feel like a barkeep entering the kingdom of heaven. I know what his sensation would be and his private comments. He would not find the place to his taste, and he would probably say so.
I interviewed - no - had lunch with Harper Lee several years ago, trying to convince Harper Lee to do "To Kill a Mockingbird" for the book club. She wouldn't do it. She said, "Honey, I said everything I wanted to say."
Books never make religions, but religions make books. We must not forget that. No book ever created God, but God inspired all the great books. And no book ever created a soul.
There is no luck in literary reputation. They who make up the final verdict upon every book are not the partial and noisy readers of the hour when it appears; but a court as of angels, a public not to be bribed, not to be entreated, and not to be overawed, decides upon every man's title to fame.
Readers may be divided into four classes: 1) Sponges, who absorb all that they read and return it in nearly the same state, only a little dirtied. 2) Sand-glasses, who retain nothing and are content to get through a book for the sake of getting through the time. 3) Strain-bags, who retain merely the dregs of what they read. 4) Mogul diamonds, equally rare and valuable, who profit by what they read, and enable others to profit by it also
Writing a long and substantial book is like having a friend and companion at your side, to whom you can always turn for comfort and amusement, and whose society becomes more attractive as a new and widening field of interest is lighted in the mind.
Folk-lore means that the soul is sane, but that the universe is wild and full of marvels. Realism means that the world is dull and full of routine, but that the soul is sick and screaming. The problem of the fairy tale is: what will a healthy man do with a fantastic world? The problems of the modern novel is: what will a madman do with a dull world? In the fairy tales the cosmos goes mad; but the hero does not go mad. In the modern novels the hero is mad before the book begins, and suffers from the harsh steadiness and cruel sanity of the cosmos.
But, if we explore the literature of Heroism, we shall quickly come to Plutarch, who is its Doctor and historian. To him we owe the Brasidas, the Dion, the Epaminodas, the Scipio of old, and I must think we are more deeply indebted to him than to all the ancient writers. Each of his "Lives" is a refutation to the despondency and cowardice of our religious and political theorists. A wild courage, a Stoicism not of the schools, but of the blood, shines in every anecdote, and had given that book immense fame.