A Quote by Alison Bechdel

At first I was glad for the help. My freshmen English class, "Mythology and Archetypal Experience," confounded me. I didn't understand why we couldn't just read books without forcing contorted interpretations on then
Before college, I hadn't voluntarily read anything that might be called literature; I didn't think I'd understand it; I never seemed to understand my English teacher's interpretations of what we read.
I'm always reading many books at a time. It might be quite unorthodox, but what I do is, since I'm always surrounded with books, I'll read a page of physics, and then I'll read a chapter of a novel that I really love, and then I'll say, "Oh well, what does that mixture do in my head?" I adore reference books. I love encyclopedias. I also like just going back to original texts, because a lot of these self-help books today.
I grew up in a middle-class house without books, without art. No one around me wrote poetry or even read it.
Personally, I never understood the power of having books written about your experience - whatever that experience may be - until I wrote one and started hearing from teens. I just got an email from a reader who said that "Thirteen Reasons Why" was the first time they had felt understood. A book shouldn't be anybody's first time feeling understood and that's where censorship bothers me. These books need to be out there.
I've read the poker books, but at this point, everybody who's playing has read the poker books. I feel like I'm knowledgeable enough to understand what's going on in the game, and I understand why I suck. And I'm not sure if I'll ever rise beyond that to the level where I don't suck.
Shakespearean words, foreign words, slang and dialect and made-up phrases from kids on the street corner: English has room for them all. And writers - not just literary writers, but popular writers as well - breathe air into English and keep it lively by making it their own, not by adhering to some style manual that gets handed out to college Freshmen in a composition class.
I feel like the books were just written like a movie. You read it and you can just kind of see everything. Before I went in to read with the director, I read the first book and I loved it. I didn't realize how good the writing was. And then I went in and read with Gary Ross, and that was 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].
If you understand real practice, then archery or other activities can be zen. If you don't understand how to practice archery in its true sense, then even though you practice very hard, what you acquire is just technique. It won't help you through and through. Perhaps you can hit the mark without trying, but without a bow and arrow you cannot do anything. If you understand the point of practice, then even without a bow and arrow the archery will help you. How you get that kind of power or ability is only through right practice.
In the first English class I attended, Prof. E. H. Elliot, addressing me, asked if I really belonged to the Junior B. A. class, and I had to answer him in the affirmative. He then proceeded to inquire how old I was.
That is why the ideal literary diet consists of trash and classics; all that has survived, and all that has no reason to survive - books you can read without thinking, and books you have to read if you want to think at all.
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.
Those who read books cannot understand the teachings and, what's more, may even go astray. But those who try to observe the things going on in the mind, and always take that which is true in their own minds as their standard, never get muddled. They are able to comprehend suffering, and ultimately will understand Dharma. Then, they will understand the books they read.
I suppose that it was inevitable that my word-base broadened. I could now for the first time pick up a book and read and now begin to understand what the book was saying. Anyone who has read a great deal can imagine the new world that opened. Let me tell you something: from then until I left that prison, in every free moment I had, if I was not reading in the library, I was reading in my bunk. You couldn’t have gotten me out of my books with a wedge...Months passed without my even thinking about being imprisoned. In fact, up to then, I never had been so truly free in my life.
It is not history, theology or mythology that interest me. It is the fact that history, theology or mythology could have alternative interpretations or explanations. I try to connect the dots between the past and the present.
Looking back, I realise it wasn't only gym I dreaded at school. Every class was a torment. It wasn't knowledge I objected to but instruction. Why couldn't they just tell us what books to read and leave us to get on and read them?
This site uses cookies to ensure you get the best experience. More info...
Got it!