A Quote by Barbara Kingsolver

A novel can educate to some extent, but first a novel has to entertain. That's the contract with the reader: you give me ten hours and I'll give you a reason to turn every page. I have a commitment to accessibility. I believe in plot. I want an English professor to understand the symbolism while at the same time I want the people I grew up with - who may not often read anything but the Sears catalog - to read my books.
Here's what I want from a book, what I demand, what I pray for when I take up a novel and begin to read the first sentence: I want everything and nothing less, the full measure of a writer's heart. I want a novel so poetic that I do not have to turn to the standby anthologies of poetry to satisfy that itch for music, for perfection and economy of phrasing, for exactness of tone. Then, too, I want a book so filled with story and character that I read page after page without thinking of food or drink because a writer has possessed me, crazed with an unappeasable thirst to know what happens next.
The essential gesture of the contemporary novel is to get people to turn the page, to entertain them, and I hate that. I want a novel where the gesture is towards existential investigation on every page. That, to me, is thrilling.
A novelist writes a novel, and people read it. But reading is a solitary act. While it may elicit a varied and personal response, the communal nature of the audience is like having five hundred people read your novel and respond to it at the same time. I find that thrilling.
You need to give the reader a reason to turn the page. In a diary, you are just yourself. You aren't trying to entertain. You aren't trying to get anyone to turn the page. I have over one hundred and fifty six volumes of my diary and I guarantee you that if you read them, you'd stop and never come back.
Some people will say, "Why read a comic book? It stifles the imagination. If you read a novel you imagine what people are like. If you read a comic, it's showing you." The only answer I can give is, "You can read a Shakespeare play, but does that mean you wouldn't want to see it on the stage?
No one reads to hear someone complain about the weather or how poorly their children are behaving. You have to give the readers a reason to turn the page. As a writer you have to invite someone to turn the page. And that is a skill you have to refine. That is why you have to read. You have to read to learn what it is that makes people turn the page.
You have to understand that while I pre-plot the meta story of a given book, I often have no idea of what will happen on the next page, let alone the next chapter. That's what makes it fun for me; I write the books the same way many people read them.
I read everything. I'll read a John Grisham novel, I'll sit and read a whole book of poems by Maya Angelou, or I'll just read some Mary Oliver - this is a book that was given to me for Christmas. No particular genre. And I read in French, and I read in German, and I read in English. I love to see how other people use language.
The first time I read a crime novel - I think it may have been an Elmore Leonard book - it took some time for me to realise how the genre worked. There were about 20 characters on the first page, and I wasn't used to this. I started to enjoy it when I saw that was how crime books worked.
I can write any kind of novel I want, any time, and sell it, but there's not that many people watching it. Even a low-rated TV show is a couple million more people than read my books. You want to be read, in essence. If you're a television writer, you're a writer and you want people to read your stuff. You're still reaching a bigger audience, that way. That's a philosophical way to look at it.
Read. You don't have to read me. But just read. Read the best people. Everybody's trying to do the same thing, which is keep you turning pages. Everyone does it a different way. But we all want you to understand [our books].
I haven't any right to criticize books, and I don't do it except when I hate them. I often want to criticize Jane Austen, but her books madden me so that I can't conceal my frenzy from the reader; and therefore I have to stop every time I begin. Every time I read Pride and Prejudice I want to dig her up and beat her over the skull with her own shin-bone.
To read a novel requires a certain amount of concentration, focus, devotion to the reading. If you read a novel in more than two weeks, you don't read the novel, really.
To read a novel requires a certain kind of concentration, focus, devotion to the reading. If you read a novel in more than two weeks, you don't read the novel really.
In reading a novel, any novel, we have to know perfectly well that the whole thing is nonsense, and then, while reading, believe every word of it. Finally, when we're done with it, we may find - if it's a good novel - that we're a bit different from what we were before we read it, that we have changed a little... But it's very hard to say just what we learned, how we were changed.
My youngest brother had a wonderful schtick from some time in high school, through to graduating medicine. He had a card in his wallet that read, ‘If I am found with amnesia, please give me the following books to read …’ And it listed half a dozen books where he longed to recapture that first glorious sense of needing to find out ‘what happens next’ … the feeling that keeps you up half the night. The feeling that comes before the plot’s been learned.
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