A Quote by Samuel Johnson
One of the amusements of idleness is reading without fatigue of close attention; and the world, therefore, swarms with writers whose wish is not to be studied, but to be read.
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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.
Salter is a writer who particularly rewards those for whom reading is an intense pleasure. He is among the very few North American writers all of whose work I want to read, whose as-yet-unpublished books I wait for impatiently.
He was taught by the river. Incessantly, he learned from it. Most of all, he learned from it to listen, to pay close attention with a quiet heart, with a waiting, opened soul, without passion, without a wish, without judgement, without an opinion.
I would give them (aspiring writers) the oldest advice in the craft: Read and write. Read a lot. Read new authors and established ones, read people whose work is in the same vein as yours and those whose genre is totally different. You've heard of chain-smokers. Writers, especially beginners, need to be chain-readers. And lastly, write every day. Write about things that get under your skin and keep you up at night.
I love to read. I wish I could advise more people to read. There’s a whole new world in books. If you can’t afford to travel, you travel mentally through reading. You can see anything and go any place you want to in reading.
Gabriel Garcia Marquez is one of my all-time favorite writers. I feel spiritual when reading his words, even though they're translated. I wish desperately that I could read it in its original language. I already feel like I'm going to church when I read him; imagine if I could read it in the original.
You're...writing for other writers to an extent-the dead writers whose work you admire, as well as the living writers you like to read.
Idleness is the enemy of the soul; and therefore the brethren ought to be employed in manual labor at certain times, at others, in devout reading.
I love poetry; it's my primary literary interest, and I suppose the kind of reading you do when you are reading poems - close reading - can carry over into how you read other things.
But reading is not idleness?it is the passive, receptive side of civilization without which the active and creative world would be meaningless. It is the immortal spirit of the dead realised within the bodies of the living. It is sacramental.
Some people act as if it were demeaning to their manhood to wish to be well-read but you can no more be a healthy person mentally without reading substantial books than you can be a vigorous person physically without eating solid food. Books should be chosen, not for their freedom from evil, but for their possession of good. Dr. Johnson said: "Whilst you stand deliberating which book your son shall read first, another boy has read both."
I understood that all the material of a literary work was in my past life, I understood that I had acquired it in the midst of frivolous amusements, in idleness, in tenderness and in pain, stored up by me without my divining its destination or even its survival, as the seed has in reserve all the ingredients which will nourish the plant.
I tell writers to keep reading, reading, reading. Read widely and deeply. And I tell them not to give up even after getting rejection letters. And only write what you love.
Now, you receive all your ideas; therefore you receive your wish, you wish therefore necessarily. The word "liberty" does not therefore belong in any way to your will....The will, therefore, is not a faculty that one can call free. A free will is an expression absolutely void of sense, and what the scholastics have called will of indifference, that is to say willing without cause, is a chimera unworthy of being combated.
In a world rife with unsolicited messages, typography must often draw attention to itself before it will be read. Yet in order to be read, it must relinquish the attention it has drawn. Typography with anything to say therefore aspires to a kind of statuesque transparency. It's other traditional goal is durability: not immunity to change, but a clear superiority to fashion. Typography at its best is a visual form of language linking timelessness and time.
My friend, Dennis Mathis, was reading Eastern European and Japanese experimental writers, and I brought the Latin American writers to his attention, so we exchanged books and bounced off one another.
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