A Quote by Nancy Pearl
When we want a book exactly like the one we just finished reading, what we really want is to recreate that pleasurable experience--the headlong rush to the last page, the falling into a character's life, the deeper understanding we've gotten of a place or a time, or the feeling of reading words that are put together in a way that causes us to look at the world differently. We need to start thinking about what it is about a book that draws us in, rather than what the book is about.
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Reading texts is no substitute for meditation and practicing Zen. If you read a book about a place, and you want to go there, you don't keep reading the book. You have to travel. That's what practice is about. Traveling. Walking the path.
I'm not going to make judgments about what people are reading. I just want them to be reading. And I think reading one book leads to another book.
I like to read a couple books at once. I was reading the Princess Diana book. I'm reading a book about Chicago and the mob. Right now I'm also reading the Bible, beginning to end. I'm very religious. That's how I've gotten to where I am.
You can take a book to the beach without worrying about sand getting in its works. You can take it to bed without being nervous about it falling to the floor should you nod off. You can spill coffee on it. You can sit on it. You can put it down on a table, open to the page you're reading, and when you pick it up a few days later it will still be exactly as you left it. You never have to be concerned about plugging a book into an outlet or having its battery die.
So this is supposed to be about the how, and when, and why, and what of reading -- about the way that, when reading is going well, one book leads to another and to another, a paper trail of theme and meaning; and how, when it's going badly, when books don't stick or take, when your mood and the mood of the book are fighting like cats, you'd rather do anything but attempt the next paragraph, or reread the last one for the tenth time.
When I'm writing a comic book, I'm thinking about a character that I'm going to be drawing on the page. I've never drawn a character to look like who I want to cast in a movie because I don't think that way. I'm a real monomaniac. I do one thing at a time.
In my case, I made the decision early on that I was going to be very open about the book and claim upfront that each of the stories was based on my life experience. I think my reasoning goes back to what I was saying earlier, about wanting the book to be "more than a book," that I wanted the reader to feel a little unsettled about what they were reading: there's a core of factual truth here.
A book is something that young readers can experience on their own time. They decide when to turn the page. They'll put their arm right on the page so you can't turn it because they're not ready to go to the next page yet. They just want to look at it again, or they want to read the book over and over because they really enjoy setting the pace themselves.
No time spent with a book is ever entirely wasted, even if the experience is not a happy one: there’s always something to be learned. It’s just that, every now and again, you can hit a patch of reading that makes you feel as if you’re pootling about. [...] But what can you do about it? We don’t choose to waste our reading time; it just happens. The books let us down.
If reading makes you smart then how come when you read a book they have to put the title of the book on the top of every single page? Does anyone get halfway through a book, What the hell am I reading?
A travel book is a book that puts you in the shoes of the traveler, and it's usually a book about having a very bad time, having a miserable time, even better. You don't want to read a book about someone having a great time in the South of France, eating and drinking and falling in love. What you want to read is a book about a guy going through the jungle, going through the arctic snow, having a terrible time trying to cross the Sahara, and solving problems as they go.
So he lent her books. After all, one of life's best pleasures is reading a book of perfect beauty; more pleasurable still is rereading that book; most pleasurable of all is lending it to the person one loves: Now she is reading or has just read the scene with the mirrors; she who is so lovely is drinking in that loveliness I've drunk.
If you want to write about a person who isn't nice, people say, "This is a bad book. It's about somebody I couldn't stand." But that's not the point. You don't have to like a character to like a book. Most of the time, people would misjudge and say, "I didn't like the book." No, you didn't like the character. That doesn't make it any less interesting of a book. In fact, to me, it makes it more interesting.
I think that my first book - I was trying to write the kind of book I would have loved as a kid. So it's sort of, like, a book inspired by my childhood reading and the passion that I felt about reading when I was a kid.
I read continually and don't understand writers who say they don't read while working on a book. For a start, a book takes me about two years to write, so there's no way I am depriving myself of reading during that time. Another thing is that reading other writers is continually inspiring - reading great writers reminds you how hard you have to work.
It's really, really eclectic. It's not a business book [Girlboss], but it's still a book that should make you want to get up and do things and think about your life. And for a book that looks that beautiful on a coffee table, I think that's a very special thing. So it's hopefully a new genre I guess, of book. It was so fun to put together and fun to write, that was really a pleasure.
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