A Quote by Elizabeth Hand
Real myths are often strange and startlingly unfamiliar, and don't always give up their meanings easily; you have to tease them out, and for me, that's one of the pleasures of reading older collections of lore.
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Well-meaning adults can easily destroy a child’s love of reading: stop them reading what they enjoy, or give them worthy-but-dull books that you like, the 21st-century equivalents of Victorian “improving” literature. You’ll wind up with a generation convinced that reading is uncool and worse, unpleasant.
I read individual stories a lot in magazines and other places, too, but I really think there's something to be said for reading story collections as collections. That's not true of all story collections, to be honest, but for good ones I think it often is true.
I think reading is a gift. It was a gift that was given to me as a child by many people, and now as an adult and a writer, I'm trying to give a little of it back to others. It's one of the greatest pleasures I know." Ann M. Martin
"Never write anything that does not give you great pleasure. Emotion is easily transferred from the writer to the reader.
I don't think our lives actually unfold with morals attached to them, or meanings that are easily extracted, or jokes designed to generate sympathy. I wanted to do the opposite - to offer up a life whose meanings can only be perceived through a tangle of desires, confusions, and textural details.
It is hard for many people to give up the religion in which they were born; to admit that their fathers were utterly mistaken, and that the sacred records of their country are but collections of myths and fables.
The more real things get, the more like myths they become. There have always been myths, but the myths of earlier times were, Im convinced, bad ones, because they made people sick. So certainly, if we can tell evil stories to make people sick, we can also tell good myths that make them well.
Kids often ask me if characters are real or made up - and I always tell them, 'I hope they're real but I made them up.'
The romantics were prompted to seek exotic subjects and to travel to far off places. They failed to realize that, though the transcendental must involve the strange and unfamiliar, not everything strange or unfamiliar is transcendental.
I have always loved octopuses. No sci-fi alien is so startlingly strange.
Rather than numbing or drowning out the difficult-to-describe but urgently sensed feelings that are part of being human, poetry invites us to tease them out, to draw them into language that is rooted in intricate thought and strange impulse.
I am a man without many pleasures in life, a man whose few pleasures are small, but a man whose small pleasures are very important to him. One of them is eating. One reading. Another reading while eating.
You know, sometimes people never get to learn how successful they could have been because they give up too easily. If I've learned one thing in all my years in the business, it's that often things don't work out the way you want at first. But that doesn't mean you should give up.
When people ask me what I do for a living, I generally tell them 'I run a hedge fund.' The majority give me a strange look, so I quickly add, 'I am a money manager.' When the strange look persists, as it often does, I correct it to simply, 'I'm an investor.' Everyone knows what that is.
I often write two books simultaneously. Usually one of them starts out as a fun experiment designed to give me a daily break from the real book I'm writing. And then that becomes a real book too.
More wonderful than the lore of old men and the lore of books is the secret lore of the ocean. Blue, green, grey, white, or black; smooth, ruffled, or mountainous; that ocean is not silent. All my days I have watched it and listened to it, and I know it well. At first it told to me only the plain little tales of calm beaches and near ports, but with the years it grew more friendly and spoke of other things; of things more strange and more distant in space and time.
The [travel] writer, looking back at the journey from a distance of a year or two (or three), is a different character from the hapless character who undertook the trip: wise after the event, with the leisure to tease out meanings from the experience that the distracted traveler never had, and often impatient with his alter ego's blinkered and unsatisfactory version of things.
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