A Quote by Steve Donoghue
The Transformation of the World is lavishly reinforced with critical apparatus (that, too, must have been a labor of Hercules to translate--I honestly never expected to see this book in English), but by far its greatest attraction is the intelligence and more important the wisdom of its author. It's a towering achievement no serious reader should miss.
Related Quotes
To say that an author is a reader or a reader an author, to see a book as a human being or a human being a book, to describe the world as text or a text as the world, are ways of naming the readers craft.
Probably, indeed, the larger part of the labor of an author composing his work is critical labor; the labor of sifting, combining, constructing, expunging, correcting, testing. This frightful toil is as much critical as creative.
Really, the greatest compliments about a book [One Thousand Gifts] are never about the book, or the author of the book, but about the reader and God and how the pages helped them connect at a deeper level.
The author always loads his dice, but he must never let the reader see that he has done so, and by the manipulation of his plot, he can engage the reader's attention so that he does not perceive the violence that has been done to him.
You must learn to translate wisdom and strong feelings into labor.
As a reader, I want a book to kidnap me into its world. Its world must make my so-called real world seem flimsy. Its world must lure me to return. When I close the book, I should feel bereft.
The so-called paradoxes of an author, to which a reader takes exception, often exist not in the author's book at all, but rather in the reader's head.
Translators who choose to work on canonized writers can usually lean on an extensive critical apparatus around either the author or the book in question, especially in the case of writers like [Honore] Balzac and [Emil] Zola.
The author always loads his dice, but he must never let the reader see that he has done so.
However much of time, labor, or other means it takes to establish a reputation, it frequently happens that it requires nearly as much to maintain it. One who has written a good book, is expected on all occasions to "talk like a book." Or, if one has achieved an act of heroism, he is expected to perform acts of heroism for the edification of all who approach him. There are people who can never believe they see a lion unless they hear him roar.
The first paragraph of my book must get me my reader. The last paragraph of a chapter must compel my reader to turn the page. The last paragraph of my book must ensure that my reader looks out for my next book.
Everyone in the book's ecology, starting with the author and including the publisher, the distributor, the booksellers, the libraries, and ending up with the reader, should benefit from a healthy book trade.
The world I believe is far too serious, and being far too serious ... it has need of a wise and merry philosophy.
Once in a very long time you come across a book that is far, far more than the ink, the glue and the paper, a book that seeps into your blood. With such a book the impact isn't necessarily obvious at first...but the more you read it and re-read it, and live with it, and travel with it, the more it speaks to you, and the more you realize that you cannot live without that book. It's then that the wisdom hidden inside, the seed, is passed on.
It's important to realize that the series actually grows with the reader. "March: Book One" is a great introduction for kids as young as eight or nine years old. But then they grow with the reader. Book Two is bigger, Book Three is even bigger. And they grow more violent and more confrontational.
Catch-22 is the greatest satirical work in English since Erewhon...remarkable... This is a book that I could wish everyone to read. It is a book which should help us feel more clearly
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