A Quote by Marilynne Robinson
I read things like theology, and I read about science, 'Scientific American' and publications like that, because they stimulate again and again my sense of the almost arbitrary given-ness of experience, the fact that nothing can be taken for granted.
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I read things like theology, and I read about science, Scientific American and publications like that, because they stimulate again and again my sense of the almost arbitrary given-ness of experience, the fact that nothing can be taken for granted.
Often, when I want to read something that is satisfying to me as theology, what I actually read is string theory, or something like that - popularizations, inevitably, of scientific cosmologies - because their description of the scale of things and the intrinsic, astonishing character of reality coincides very beautifully with the most ambitious theology. It is thinking at that scale, and it is thinking that is invested with meaning in a humanly evocative form. That's theology.
The only things I read are gossip columns. If I read three pages of a book, I'm out like a light. When I pick up the book again, I've forgotten what I've read and have to start over again. By page three, even if I've just awakened from a nine -hour nap, I fall asleep again. So if anyone gives me a book, it had better have lots of pictures.
I know a lot of other actors that don't like to look at other references to their characters and things. But I like it. I always look at everything, I read all the books. I read Dieter's "Escape from Laos." I watched the documentary again and again and again. I recorded it just to listen to him a lot. I just don't suffer from feeling like I'm getting caught into an imitation. I just feel like I want to steal some good stuff if it's in there.
One of the things that's pretty unique about nu shu, when you look especially at these old letters and stories that have been saved, is that there are certain lines that are very standard that are used again and again. It's almost like a formula in a sense, so that these certain lines come up again and again.
When I'm writing the text for a book like 'Little White Rabbit,' I read it aloud, alone, in my studio, again and again and again - because the rhythm has to be exactly right. After I get my manuscript to the point where I think it is perfect, I begin to think about what I want the art to look like.
Since then, I have just read and read - but, that said, I suppose there is a raft of writers to whom I return again and again, not so much because I want to write like them, even if I were capable of it, but simply for a sort of stylistic shot in the arm.
I hope that you have re-read the Constitution of the United States in these past few weeks. Like the Bible, it ought to be read again and again.
Have you ever given someone a book you enjoyed enormously, with a feeling of envy because they were about to read it for the first time, an experience you could never have again?
Young screenwriters are always very frustrated when they talk to me. They say, 'How do we get to be a screenwriter?' I say, 'You know what you do? I'll tell you the secret, it's easy: Read 'Hamlet.' You know? Then read it again, and read it again, and read it until you understand it. Read 'King Lear,' and then read 'Othello.'
In one sense, reading is a great waste of time. In another sense, it is a great extension of time, a way for one person to live a thousand and one lives in a single lifespan, to watch the great impersonal universe at work again and again That is why I read: I want everything to be okay. That’s why I read when I was a lonely kid and that’s why I read now that I’m a scared adult.
I was given a dictionary when I was seven, and I read it because I had nothing else to read. I read it the way you read a book.
No one believes more strongly than I do that every Christian should be a theologian. In that sense, we all need to work it out. I want all Christians who can read, to read their Bibles and to read beyond the Bible - to read the history and theology.
To become a novelist, the most crucial thing one must do is read, read and read again - gradually you begin to think like a writer. Ideas are not found - they are shaped.
Painting is almost like a sport. It's like this action thing. When I do it, I'm really not thinking. The paintings are like a diary that I might not want to read again.
Like a lot of people, I read 'The Diary of Anne Frank' again and again and again when I was growing up - I'm still completely felled by what an astounding book it is. And as a teenager, I did a lot of reading about concentration camps and the vast horrors of the war.
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