A Quote by Jonathan Franzen

I don't personally like the e-readers they've come up with so far. I don't fetishize books, but I do like that they're solid and unchanging. — © Jonathan Franzen
I don't personally like the e-readers they've come up with so far. I don't fetishize books, but I do like that they're solid and unchanging.
In the past, traditional art was based on making manifest what is enduring in man, like love, jealousy, hatred, envy, and greed... . Today art has to look again at these unchanging qualities, because society is no longer unchanging. It is up to art today to show us what has become of these unchanging qualities in a world which is moving and changing.
There's a generation of people that do fetishize books and do fetishize catalogues and do look at them as something important. The same thing with magazine culture: because magazines don't make the amount of money that they used to, it's become important again to another generation of people to actually read them. And it's very, very pinpointed to the select people that actually fetishize and go in and look at them.
I've had people say very dismissive things about my books, but I also feel like I probably have more readers because I'm a woman. I mean, more readers are women and more people who buy books are women, so I don't feel like it's a total disadvantage to be a female writer.
Books woke me up. Books are my favorite man-made objects. I fetishize their design, smell, feel. And that they can contain such burning, complex communications is a miracle to me.
I believe in books that do not go to a ready-made public. I'm looking for readers I would like to make. To win them, to create readers rather than to give something that readers are expecting. That would bore me to death.
The way I felt growing up, which was like an outcast - I was weird, I was a nerd, I read fantasy books - I think a lot of fantasy book readers and a lot of readers and writers in general have that experience of isolation.
The most reward experience is having another writer come up to you and say that they started writing because they read my books. That is how writing as a profession continues: readers becomes writers who inspire new readers.
I like art that trusts its audience, that's written for readers who like to work hard. I like art that knows its readers are up to the challenge of interacting with difficult material.
I think I write for reluctant readers. Of course I want everyone to enjoy my books, but if the kids in the back row who normally don't pick up a book are engaged with what I'm writing, along with the kids who are big readers anyway, then I really feel like I've done my job.
I'm far more often annoyed than delighted by previous readers' marks in used books, so I assume that my notations will be equally annoying to future readers, and avoid making them.
Solid scriptural theology should be valued in the church. Books in which Scripture is reverently regarded as the only rule of faith and practice-- books in which Christ and the Holy Ghost have their rightful office-- books in which justification, and sanctification, and regeneration, and faith, and grace, and holiness are clearly, distinctly, and accurately delineated and exhibited, these are the only books which do real good. Few things need reviving more than a taste for such books as these among readers.
I don't laugh that much, but I do like humorous books, and I like to entertain readers that way.
To me, the solidarity of readers is far more important than the solidarity of writers, particularly since readers in fact find ways to connect over a book or books, whatever they may be.
A book is a book, but a movie is a movie. The more faithful you are, the more you'll come up with Harry Potter #1 and #2, which are like filmed books on tape. They're so petrified of turning off the readers that they make no concessions to the fact that they're trying to make a piece of cinema.
I'm trying to steal from everybody. So yeah, there's cats that I'm personally affiliated with - Carl Franklin, Paul Thomas Anderson - and others that I don't know personally but their work I'm a big admirer of, like Martin Scorsese. But I'm hoping to come up with a language that is mine, that's specific to my take on this material.
Once you come up with a premise, you have to work out how it all happened. It's a bit like coming up with a spectacular roof design first. Before you can get it up there, you need to build a solid foundation and supporting structure.
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