A Quote by Art Spiegelman
he technology that threatens to kill off books as we know them - the "physical book," a new phrase in our language - is also making the physical book capable of being more beautiful than books have been since the middle ages.
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The technology that threatens to kill off books as we know them - the 'physical book,' a new phrase in our language - is also making the physical book capable of being more beautiful than books have been since the middle ages.
Look at a book. A book is the right size to be a book. They're solar-powered. If you drop them, they keep on being a book. You can find your place in microseconds. Books are really good at being books, and no matter what happens, books will survive.
Real life is physical. Give me books instead. Give me the invisibility of the contents of books, the thoughts, the ideas, the images. Let me become part of a book. . . . an intertextual being: a book cyborg, or, considering that books aren't cybernetic, perhaps a bibliorg.
Typically, a book is published and gets one season in the sun. Eventually, you write another book, and maybe your old books get a bump, but my books seem to keep being discovered and recommended to new people of all ages.
A book, being a physical object, engenders a certain respect that zipping electrons cannot. Because you cannot turn a book off, because you have to hold it in your hands, because a book sits there, waiting for you, whether you think you want it or not, because of all these things, a book is a friend. It’s not just the content, but the physical being of a book that is there for you always and unconditionally.
The computer is the way I'm making books, but I still think about the physical properties. I visualize the length of a book, the proportions of a book, in material terms.
I believe in books. And when our people [coughing] - our people of Jerusalem, let's say after the Romans destroyed the temple and the city, all we took is a little book, that's all. Not treasures, we had no treasures. They were ransacked, taken away. But the book - the little book - and this book produced more books, thousands, hundreds of thousands of books, and in the book we found our memory, and our attachment to that memory is what kept us alive.
It's actually as simple as this. New authors, building their customer base, need physical bookshops. Physical bookshops are lovely tactile, friendly, expert, welcoming places. Physical books, which can only be seen and handled in physical bookshops, are lovely, tactile things. Destroy those bookshops, and the very commercial and cultural base to the book industry is destroyed. Once and for all. Like Humpty Dumpty, it can never be put together again.
The more I write, the more I've come to realize that books have a different place in our society than other media. Books are different from television or film because they ask you to finish the project. You have to be actively engaged to read a book. It's more like a blueprint. What it really is, is an opportunity... A book is a place where you're forced to use your imagination. I find it disappointing that you're not being asked to imagine more.
When I look for new books, I often struggle to find things that challenge and entertain me. This has caused me to spend a number of cycles thinking about where I can get the serendipitous book discovery experience that we had in physical book stores.
Book burning is a charming old custom, hallowed by antiquity. It has been practiced for centuries by fascists, communists, atheists, school children, rival authors, and tired librarians. Like everything of importance since the invention of the cloak and the shroud, its origins are cloaked in mystery and shrouded in secrecy. Some scholars believe that the first instance of book burning occurred in the Middle Ages, when a monk was trying to illuminate a manuscript. All agree that book burning was almost non-existent during the period when books were made of stone.
I'm always writing a new book even when books are being shopped around, and none of my books has been published in the order that they have been written.
I love real books, paper books, but I also love buying online, and I think that people are more willing to take a chance to read something if it's cheaper - sometimes books on the Kindle are $6. A hardback book is $25. For $25, it better be a really great book. Or you're going to be mad.
I think that some books are more successful than others to certain readers. People who read my books for the humor, they're going to love one book. People who read my books for the mystery, they might not like that book quite as much.
I don't change the language for children books. I don't make the language simpler. I use words that they might have to look up in the dictionary. The books are shorter, but there's just not that much difference other than that to be honest. And the funny thing is, I have adult writer friends [to whom I would say], "Would you think of writing a children's book?" and they go, "No, God, I wouldn't know how." They're quite intimidated by the concept of it. And when I say to children's books writers, would they write an adult book, they say no because they think they're too good for it.
I feel lucky that I read so many books as a kid because I know that no matter how much I appreciate a book now, and I can love a book very much, it's never going to be that childhood passion for a book. There's some element, something special about the way they're reading books and experiencing books that's finite.
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