For books are not absolutely dead things, but do contain a potency of life in them to be as active as that soul was whose progeny they are; nay, they do preserve as in a vial the purest efficacy and extraction of that living intellect that bred them.
I hate to express political ideas directly in a book. I don't want my books to be seen as an expression of this or that political idea. At the same time I want to show a kind of rebellion and transgression, something further.
Of course, there are those critics - New York critics as a rule - who say, 'Well, Maya Angelou has a new book out and of course it's good but then she's a natural writer.' Those are the ones I want to grab by the throat and wrestle to the floor because it takes me forever to get it to sing. I work at the language.
Some people, in order to discover God, read books. But there is a great book: the very appearance of created things. Look above you! Look below you! Read it. God, whom you want to discover, never wrote that book with ink. Instead, He set before your eyes the things that He had made. Can you ask for a louder voice than that?
And the light by which she had read the book filled with troubles, falsehoods, sorrow, and evil, flared up more brightly than ever before, lighted up for her all that had been in darkness, flickered, began to grow dim, and was quenched forever.
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.
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.