Top 1200 Book Learning Quotes & Sayings - Page 19

To use an electronics analogy, closing a book on a bookmark is like pressing the Stop button, whereas when you leave the book facedown, you've only pressed Pause.

Of all man’s instruments, the most wondrous, no doubt, is the book. The other instruments are extensions of his body. The microscope, the telescope, are extensions of his sight; the telephone is the extension of his voice; then we have the plow and the sword, extensions of the arm. But the book is something else altogether: the book is an extension of memory and imagination.

Learning organizations organizations where people continually expand their capacity to create the results they truly desire, where new and expansive patterns of thinking are nurtured, where collective aspiration is set free, and where people are continually learning how to learn together.

The real tight interface is between the book and the reader-the world of the book is plugged right into your brain, never mind the [virtual reality] bodysuit.

You may train for a long time, but if you merely move your hands and feet and jump up and down like a puppet, learning karate is not very different from learning a dance. You will never have reached the heart of the matter; you will have failed to grasp the quintessence of karate-do.

A library book, I imagine, is a happy book.

I'm writing a book, and there's not even space for a desk in our home. So I spent my hard-earned book money and rented the small apartment downstairs from us.

We are not just humans learning to become buddhas, but also buddhas waking up in human form, learning to become fully human.

The passion to condense from book to book Unbroken wisdom in a single look, Though we know well that when this fix the head, The mind's immortal, but the man is dead.

[on L. Ron Hubbard] I'm not in favor of his religion by any means. But he wrote a book called 'Battlefield Earth' that was a very fun science-fiction book.

Writing a book makes you an expert in the field. At the very least, when you hand someone a book you wrote, it's more impressive than handing a business card.

There's a part of me with every book that thinks, What would it have meant for me tohave had this book when I was a kid? I decided to create a book for girls like me. The Littlest Bigfoot is about bullying and body image and girls who don't fit in. It's like training wheels for my adult books - like Sex and the City, but with 12-year-olds.

When I was 19 years old, I wrote my first book. I took a computer science class, and the book was garbage. I thought I could write a better one, so I did.

College is such a unique time because you're learning a little bit how to be an adult. You're learning how to take care of yourself without parental influence, and you're exposed to so many great minds. I feel like I didn't even know how to think until I got to college.

Going into my second Summer League, I felt like I had more knowledge. Just being around the game and learning your routines, and just learning from other guys that you're around, you feel like you pick up on a lot of stuff.

It took me forever, learning improvisation, because I had studied with Lee Strasberg - I dropped out of Chicago and went to his classes in New York for a couple of years, once or twice a week. What I didn't realize was I was learning directing because he wasn't all that good about acting, not for me.

There exists one book, which, to my taste, furnishes the happiest treatise of natural education. What then is this marvelous book? Is it Aristotle? Is it Pliny, is it Buffon? No-it is Robinson Crusoe.

I remember, even in college, reading Cliffs Notes about a book and thinking to myself, 'Geez, that sounds like a good book. I should probably read it.'

If being a kid is about learning how to live, then being a grown-up is about learning how to die.

People who cling to their illusions find it difficult, if not impossible, to learn anything worth learning: a people under the necessity of creating themselves must examine everything, and soak up learning the way the roots of a tree soak up water.

If you don't allow yourself to change from book to book - take chances - it turns into a dullish job with no health benefits or pension plan and only intermittent paychecks.

My definition of learning is to remember what you are interested in. If you don't remember something, you haven't learned it, and you are never going to remember something unless you are interested in it. These words dance together. 'Interest' is another holy word and drives 'memory'. Combine them and you have learning.

A thing worth learning is worth learning well.

Writing my first book, I think in hindsight I went into it saying, 'It's gonna sell.' I was earning enough to scrape by sometime around a book or two before 'Tell No One.' I moved up from $50,000 to $75,000, then $150,000 for each book. I had never thought I would be doing anything else. I had enough encouragement.

As an actor, I think you can get really bad habits, if you do the same thing, every day. You can get stuck in a rut. So, I like jumping between genres, and then taking a break and learning something new. I like feeling like I'm still learning.

A book that furnishes no quotations is no book - it is a plaything.

I would like to have the superpower of being able to touch a book and then gain all the knowledge out of that book without spending hours and days reading it.

If we study learning as a data science, we can reverse engineer the human brain and tailor learning techniques to maximize the chances of student success. This is the biggest revolution that could happen in education, turning it into a data-driven science, and not such a medieval set of rumors professors tend to carry on.

The proper aim of education is to promote significant learning. Significant learning entails development. Development means successively asking broader and deeper questions of the relationship between oneself and the world. This is as true for first graders as graduate students, for fledging artists as graying accountants.

Early on my career, I figured out that I just have to write the book I have to write at that moment. Whatever else is going on in the culture is just not that important. If you could get the culture to write your book, that would be great. But the culture can't write your book.

When I was very young, one of my favourite books was Captain's Courageous and I suppose one of the reasons I loved it, it was a life I knew I should have had, learning all the different bits of the ship and learning to catch fish and rig sails and to -all the things that I never learned and I never learned the discipline, but I hungered after it.

If my novel gets any attention in Bulgaria, it will be as a scandal: a book about a teacher at a famous school and his relationship with a prostitute. I doubt very much it will be evaluated on its merits as literature. If Bulgarian were the book's only language, that would be painful and limiting to me as a writer. Since my book also exists in English - where it isn't scandalous at all - I feel comfortable with the possibility of scandal.

I love going to writers' colonies in pastoral settings where there's nothing to do but either walk around or read a book or work on your book, and they all seem helpful.

If I like a book, I tend to read the author's entire collection. But I choose mainly through personal recommendations, general word of mouth and book reviews.

When you're writing a book, you don't really think about it critically. You don't want to know too well what you're doing. First, you write the book, then you find the justification for it.

Books are good but they are only maps. Reading a book by direction of a man I read that so many inches of rain fell during the year. Then he told me to take the book and squeeze it between my hands. I did so and not a drop of water came from it. It was the idea only that the book conveyed. So we can get good from books, from the temple, from the church, from anything, so long as it leads us onward and upward.

To me, all the juice of a book is in an unpublished manuscript, and the published book is like a dead tree - just good for cutting up and building your house with.

BBC had tried to develop the book, set in England, as a two-hour movie. I went to a meeting and they said, "Look at this," and I thought the book was outstanding. I was like, "Can I do this?"

There've been times when I have existential conversations with myself, and I've thought about leaving and trying to apply my education better. But ultimately it doesn't really matter. Learning how to write, learning how to write papers and structure, that's been very helpful for writing.

When you start off with your first book, people assume that you're like all the characters in the book - and it does complicate things, when you're being constantly bombarded with it, but you have to embrace it.

The first object of any act of learning, over and beyond the pleasure it may give, is that it should serve us in the future. Learning should not only take us somewhere; it should allow us later to go further more easily.

I've had mainstream readers complain that the book is really a romance, and romance readers complain that the book isn't a romance - with the same book! It really depends on the individual reader's expectations going into the story, and that's very hard to predict person to person.

It is because of that balanced relationship to the moment that mindfulness serves as the platform for insight... if we feel an emotion, for example, and struggle against it right away, there is not going to be a lot of learning going on. In the same way, if we are swamped by that emotion, overcome by it, there won't be enough space for there to be learning or insight.

The dream book is always the next book.

I opposed the Fatwa against Salman Rushdie. I read the book and took a critical distance. I did not think The Satanic Verses is a blasphemous book. I did not consider the book as being a great read, but as an intellectual I read, I assess, and I respond. I make a difference between true freedom of expression to which we owe a response and provocation, which we ignore.

Well, Thanksgiving we'll all gather at my house for dinner and we usually do Christmas at Beau's house. My mom is still feisty and kicking. She's 92. I saw her last night and she published a book at 90. It's a wonderful book called "You Caught Me Kissing" and it's basically love-poems that she wrote for my dad. It's more than that, it's a wonderful book.

It was actually a very nice little book done by a gift book company. They illustrated it with pictures from 1920s football, before there were face guards.

I wrote a book called The Taste of New Wine because I couldn't find a book that talked about the reality of the situation and how we were dishonest and afraid.

The promise of learning is a delusion.... Tomorrow would alter the sense of what had already been learned, that the learning process is extended in this way, so that from this standpoint none of us ever graduates from college, for time is an emulsion, and probably thinking not to grow up is the brightest kind of maturity for us, right now at any rate.

We pay a heavy price for our fear of failure. It is a powerful obstacle to growth. It assures the progressive narrowing of the personality and prevents exploration and experimentation. There is no learning without some difficulty and fumbling. If you want to keep on learning, you must keep on risking failure-all your life.

It's horrible for someone to listen to someone learning any instrument - when I was first learning the banjo, I used to have to go out and sit in the car, and even in the summertime I'd have to roll up the windows. Because you just couldn't practice a banjo or a fiddle with other people around. Unless they're being paid.

For any book, it's distilling all of the moments in the book that are either fan favorites or pivotal that you have to have in there, and how you tie that all up into a two hour movie is not the easiest job.

All good and true book-lovers practice the pleasing and improving avocation of reading in bed ... No book can be appreciated until it has been slept with and dreamed over.

The Kindle is the most successful electronic book-reading tablet so far, but that's not saying much; Silicon Valley is littered with the corpses of e-book reader projects.

That's what I love about reading: one tiny thing will interest you in a book, and that tiny thing will lead you to another book, and another bit there will lead you onto a third book. It's geometrically progressive - all with no end in sight, and for no other reason than sheer enjoyment.

When I write a book, I'm making it the best book I can.

Everything that is observed in the physical world has as its source that which is invisible. This means we must surrender to the Spirit and to the invisible part of ourselves. Then learning to manifest is really nothing more than learning to manifest another aspect of ourselves.

The only power source a book needs is you. If you have to leave for a few minutes you have not lost the story. It is waiting for you when you return. You can pick up a book and resume reading at any time, after a few minutes, a few days, even a few years. A television picture or a movie might be lost forever, but your book is waiting.

I wrote a book called 'Doll Bones', which was another middle-grade book, and when I was writing it, I needed a place in the U.S. that made bone china. And there are only two places in the U.S. that make bone china. They made it by grinding down actual cow bones. It was a plot point. It was a creepy doll book.

I have lexical-gustatory synesthesia. I can taste, and always have tasted, words. I remember when I was a kid and learning to read I mentioned to my mom that certain words I was learning tasted certain ways, thinking everyone was like that, and didn't understand why she didn't get what I was saying.