In Among the White Moon Faces, I wrote about my desire to be a writer as rooted in my obsessive hours of reading English novels and poetry. It was that spur, that desire, that pushed me to set aside love and marriage in my early twenties.
I felt like Jason Behr and I had such a unique chemistry. He just walked in and we started reading together, it was just there
I know as a child, I was really interested in becoming a manga artist, to create my own stories and illustrate them and present something that people would be interested in reading and looking at as well.
After my husband, Dave, died, I called my friend Adam, a psychologist who studies how people find meaning in our lives, and I asked him what, if anything, I could do to help myself and my kids get through this. We started talking about resilience, then reading about it, then talking to other people who had gotten through grief and other huge challenges. In time, those conversations and that research helped me heal.
I probably shouldn't admit this since I work in the tech industry, but I still prefer reading paper books.
We can all learn from every text. Reading the work that disgusts you can only strengthen your core beliefs. I could teach a semester-long course based only on reading the local telephone book. All stories can be taught in valuable ways.
Corliss wondered what happens to a book that sits unread on a library shelf for thirty years. Can a book rightfully be called a book if it never gets read? If a tree falls in a forest and gets pulped to make paper for a book that never gets read, but there's nobody there to read it, does it make a sound?
I believe in any kid's ability to read any book and form their own judgements. It's the job of a parent to guide his/her child through the reading of every book imaginable. Censorship of any form punishes curiosity.
I really can't help what someone thinks of me because they are reading a paper and choosing to believe it.
I feel like one can have all of that as a writer; you're writing, you're reading, you're talking to interesting and intelligent people. Your life is structured around whatever book you're writing, and so is your reading and so are many of your conversations.
I'm reading a lot of different books, but I always think I have to switch it up a little bit. It's like food - everything in moderation, same with my books, same with my reading. You read books that are good for you and you learn a lot of stuff, then you read 'Fifty Shades of Grey,' which is like candy.
Don’t be in too much of a rush to be published. There is enormous value in listening and reading and writing—and then putting your words away for weeks or months–and then returning to your work to polish it some more.
I entered a poem in a poetry contest around 1987, and the poem won and I received $1,000 for it. That made me realize that maybe what I was writing was worth reading to people. After that, for some reason, I turned to novels and I've written mainly novels ever since.
I really wasn't very involved politically with anything up until that point. Then I started reading about the second Palestinian Intifada, and I spoke to friends in activist and journalism circles. Then, somehow by complete luck, I ended up at Democracy Now.
I hated the culture, I hated the work. I very quickly realized that this wasn't what I wanted to do. So, after two years, I took some writing courses - I always loved to write - and I figured the only way I was going to get paid to write was in journalism. I really wasn't very involved politically with anything up until that point. Then I started reading about the second Palestinian Intifada, and I spoke to friends in activist and journalism circles. Then, somehow by complete luck, I ended up at Democracy Now.
In some ways, I don’t feel as if I had a choice. Looking back at my childhood, even before I could read and write, I was making up stories. I love reading and I love telling stories, and the times in my life when I’ve tried to ignore that part of me, I’ve gone a little crazy. Characters start tugging on my sleeves, words start haunting me, and I feel generally unsatisfied. Really, being a writer sounds more like a mental illness than a professional choice.
The great thing about reading for Quentin [Tarantino] is you're not reading for him, he's reading with you. So he sits right next to you.
So I grew up in a very book-friendly environment and my education as a writer was reading. I think that's the best education. Reading, and taking from the people I admired.
I've always enjoyed reading history, particularly presidential biographies.
I've been a lifelong horror fan, but at the same time, I would say 90 percent of my reading is biographies and nonfiction history.
Decide, before you start, that you're going to change three things about what you do all day at work. Then, as you're reading, find the three things and do it. The goal of the reading, then, isn't to persuade you to change, it's to help you choose what to change.
At one point I felt a tension between objects, their real, physical lives, and the idea of meaning: the physical, material reality of a book, and the totally intangible experience of reading it.
A word, and all the infinite fluctuations it may possess. Like that moment when you know you have something to say, and you know you're speaking, even, but you still have no idea how you will say it. Or the moment when, as a reader, you're reading, and you are understanding what you are reading, but still have utterly no idea what will come next for you, what precisely the author wants to say. For me, that is the ultimate level of literary depth, of literary density.
Like when you pick up a book and you don't realize what type of text it is - it could be an essay, a novel, a biography - and at one point you realize you don't know where, as a reader, you want to be. Where are you going with this text? What is the goal? How are you supposed to interpret what you're reading? And people's responses vary - some dislike it, and are put off by the confusion, the lack of comprehension.
We ought not to confine ourselves either to writing or to reading; the one, continuous writing, will cast a gloom over our strength, and exhaust it; the other will make our strength flabby and watery. It is better to have recourse to them alternately, and to blend one with the other, so that the fruits of one's reading may be reduced to concrete form by the pen.
