Top 1200 Children's Literature Quotes & Sayings - Page 7

Winthrop and his shipmates and their children and their children's children just wrote their own books and pretty much kept their noses in them up until the day God created the Red Sox.

Literature exists inside the language. It's made of words. It's not made of ideas and it's not made of concepts, of psychological analysis. It's made of words. In the same way in which music is made of notes and a painting is made of lines of colors, the matter of literature are words.

In my first book, Under Fire, I wrote that I revered Ronald Reagan. That was a dozen years ago. I still feel that way. I think he changed the world for the better for my children and my children's children.

A Child of Happiness always seems like an old soul living in a new body, and her face is very serious until she smiles, and then the sun lights up the world. ... Children of Happiness always look not quite the same as other children. They have strong, straight legs and walk with purpose. They laugh as do all children, and they play as do all children, they talk child talk as do all children, but they are different, they are blessed, they are special, they are sacred.

I was going to be a writer, and that turned into journalist. And then that turned into a career in children's literature, which turned into early childhood education, which turned into psychology, which turned into premed, which turned into nursing school, which turned into communication, which turned into marketing and advertising.

The use of literature is to afford us a platform whence we may command a view of our present life, a purchase by which we may move it....we see literature best from the midst of wild nature, or from the din of affairs, or from a high religion. The field cannot be well seen from within the field.

The appeal of reading, she thought, lay in its indifference: there was something undeferring about literature. Books did not care who was reading them or whether one read them or not. All readers were equal, herself included. Literature, she thought, is a commonwealth; letters a republic.

In journalism, if there's a hole in your story you figure out a way around it because you've got a 4 p.m. deadline. It's a neat skill to have but it's deadly for literature. In literature, you need to stare at that hole, not ignore it. You need to figure it out.

It is not unusual for children to follow the paths cut by their parents. You frequently see the children of doctors enter medicine, military members' children enlist. In my family, we witnessed different forms of public and community service.

As long as the state permits itself to interfere in the affairs of literature, literature has the right to interfere with the affairs of state.

One of the things I want to do in the book is to explore how philosophy can be done in literature. I start doing that in the first chapter, by introducing the idea of "philosophy by showing". What literature/philosophy shows is how to look at some important facets of life in a new way, thus changing the frame in which subsequent philosophical argument proceeds.

What parents need to make clear to their children post-divorce is that whoever comes into their lives is not a threat to the children in any manner because the position that they occupy cannot be occupied by the children.

I think that Indian writing in English is a really peculiar beast. I can't think of any literature - perhaps Russian literature in the nineteenth century comes close - so exclusively produced by and closely identified with a tiny but powerful ruling elite, the upper-caste, Anglophone upper middle class, and dependent for so long on book buyers and readers elsewhere.

Growing up, music was an important part of my childhood. I see it being just as important in my children and all children's growth and development, and in a parent's connection with their children.

I have been a spokesperson for Operation Smile for twenty years helping children with facial deformities. I also have worked with a children's mission called Compassion International. Both are doing amazing work for the children of the world.

Some literature is knowledge, some is just data. But if I can get a "happy" ending - which is when for the characters I'm writing about, something happens that they move from wherever they are in the beginning to knowledge or wisdom, they know something they never would have acknowledged or realized if it hadn't been for my book - that for me is what literature does.

Science fiction is a unique literature. Science fiction is the first literature that says, 'Tomorrow is going to be different than yesterday, it's going to be a lot different.'

It has seemed to me that literature, as I meant it, was embattled, that it was increasingly difficult to find writing doing what I thought literature should do - which was simply to push people into changing their ideas about the world, and to go further, to encourage us in the work of changing the world, to making it more just and more truly human.

I have a hard time with people who say they write for children but they don't really like children. I love children. I love talking with them.

You'll call me damned Jew, a Christ murderer, a secret worshipper of pigs and a kidnapper of Christian children. How absurd! Who would want to kidnap children, Christian or otherwise? Vile things. The only mercy of children is that they grow up, as my son has but then, tragically, they beget more children. We do not learn life's lessons.

We provide a secure, stable space for children to grow up in, so children will be able to take risks and have adventures and do things that are unexpected. If there isn't a risk that your children can fail, then you haven't succeeded as a parent.

We shouldn't still be asking, 'Have you got children? Why've you not got children? Ooh, you must have children!' Bog off, d'you know what I mean?

I would like to have children while I've still got the energy. But then I have the feeling that when I have children I'll stop performing in the same way, because you don't really need to perform if you have children.

Writers throughout the ages have one weapon, which is literature, but they also have their responsibilities as a citizen when literature does not seem to suffice. I mean, they are not mutually exclusive. One continues to write anyway but if you are called out to demonstrate, if people are being killed in the streets, it's hardly the moment to go for your pen and paper, you know, help in one way or the other.

My vision for the future always centers around our children - it always centers around our children. So anytime anybody asks me what are the three most important issues facing the Congress, I always say the same thing: 'Our children, our children, our children.'

What's wrong with our children? Adults telling children to be honest while lying and cheating. Adults telling children to not be violent while marketing and glorifying violence... I believe that adult hypocrisy is the biggest problem children face in America.

I'm trying to imitate Jesus in the fact that he said to be like children, to love children, to be as pure as children and to make yourself as innocent and to see the world through eyes of wonderment and the whole magical quality of it all.

It is only through literature that one can put oneself in someone else’s shoes and understand the other’s different and contradictory sides and refrain from becoming too ruthless. Outside the sphere of literature only one aspect of individuals is revealed. But if you understand their different dimensions you cannot easily murder them.

The 20th century saw far greater catastrophes than September 11th, as bad as it was, and they didn't render literature or art or music irrelevant. In fact, I think that literature and art help us to understand - sometimes they provide narratives and metaphors for understanding history, for understanding recent catastrophes.

I have nine children. Four of my children are adopted. We talk about those who have nothing. My children started with nothing, some of them.

Our great problem, is that children now know whatever they want to know - at the press of a button they can discover all horrors of the adult world. They know very early on that the world is sometimes a very dark, difficult and complex place, and the literature they read must reflect that. Otherwise we're just entertaining them to pass the time.

To say 'A High Wind in Jamaica' is a novel about children who are abducted by pirates is to make it seem like a children's book. But that's completely wrong; its theme is actually how heartless children are.

The historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of literature from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order.

Children’s literature must build a bridge between the colorful dream world full of fantasy and illusion, and a tougher real world full of twists and turns. The child armed with the torch of knowledge, awareness and guidance must cross this bridge and set foot to the intense harshness of the bigger world.

I hated my part in the charade of murder and horror. My efforts were contributing to the deaths, to the burning alive of children - especially the children. The photographs of young Vietnamese children burned by napalm destroyed me.

I feel that our planet is in peril and that creating a sustainable planet for my children and my children's children is the most important thing I can do in this lifetime.

The essence of White Supremacy is this: they are people who want to keep things as they are. That their children's children's children might be a different color is something very alarming to them - in short they are committed to the maintenance of the static image.

As a children's author, you get to advocate for reading and writing in general, in a way an adult author might not be able to. It's a really interesting dance we do to get literature into the hands of young people and to help them to become literate and become readers; we want them to grow up reading and continue to do so when they're adults.

Children are to be born into a family where the parents hold the needs of children equal to their own in importance. And children are to love parents and each other.

I teach a 14-week semester, and one of the things I do when I have to teach literature is, for the first half hour of the class, I have the students write the beginning of a new story every week. At the end of the semester, even if they have learned nothing about literature, at least they'll have 14 beginnings that they can take with them.

All in all, the communally reared children of Israel are far from the emotional disasters that psychoanalytic theory predicted. Neither have they been saved from all personality problems, as the founders of the kibbutz movement had hoped when they freed children from their parents. In any reasonable environment, children seem to grow up to be themselves. There is no evidence that communal rearing with stimulating, caring adults is either the ruination or the salvation of children.

There are so many families around the country that can't have children. We can improve options so families can have children, can adopt more readily those children.

My philosophy is that I am a friend of the children. I don't think anyone should see them as pitiable subjects or charity. That is old people's rhetoric. People often relate childish behaviour to stupidity or foolishness. This mindset needs to change. I want to level the playing field where I can learn from the children. Something I can learn from children is transparency. They are innocent, straightforward, and have no biases. I relate children to simplicity and I think that my friendship with children has a much deeper meaning than others.

Expediency of literature, reason of literature, lawfulness of writing down a thought, is questioned; much is to say on both sides,and, while the fight waxes hot, thou, dearest scholar, stick to thy foolish task, add a line every hour, and between whiles add a line.

I have another aspect of my career where I'm a scholar of Yiddish and Hebrew literature, and I'll say that when you study Yiddish literature, you know a whole lot about forgotten writers. Most of the books on my shelves were literally saved from the garbage. I am sort of very aware of what it means to be a forgotten artist in that sense.

I'm a big believer in pairing classics with contemporary literature, so students have the opportunity to see that literature is not a cold, dead thing that happened once but instead a vibrant mode of storytelling that's been with us a long time - and will be with us, I hope, for a long time to come.

Our contemporary society is experimenting with the diminishment of caregivers for children. Some children are raised through crucial stages of life by only one person. This one person, who strives to give the best, may be overwhelmed, busy, trying to raise many children. And even in homes with two parents, many children are essentially alone.

I probably spend more time writing than reading science fiction. I find that science-fiction literature is so reactive to all the literature that's gone before that it's sort of like a fractal. It's gone to a level of detail that the average person could not possibly follow unless you're a fan. It iterates upon many prior generations of iterations.

Clearly, children need to be aware of the news and current affairs. I buy my own children a children's newspaper so they can form their own views.

The Constitution is more than literature, but as literature, it is primarily a work of the imagination. It imagined a country: fantastic. More fantastic still, it imagined a country full of people imagining themselves.

Of course humans like to explore, and we should. There's nothing wrong with that. But it's more than that. It's essential for your children and your children's children.

The way to rock oneself back into writing is this. First gentle exercise in the air. Second the reading of good literature. It is a mistake to think that literature can be produced from the raw. One must get out of life...one must become externalised; very, very concentrated, all at one point, not having to draw upon the scattered parts of one's character, living in the brain.

I think of the people who commit these acts as children. They're in their 20s, but like certain children, they have been told only one story, over and over. Like most children, they believe in an easily identifiable good and evil, and like most children, they are capable of unthinkable cruelty.

Ever since I had my first child I have been passionate in my commitment to preserve our precious resources for my children and their children's children. This is the obligation of all of us visiting this planet for a limited time.

Amory Lovins says the primary design criteria he uses is the question How do we love all the children? Not just our children, not just the ones who look like us or who have resources, not just the human children but the young of birds and salmon and redwood trees. When we love all the children, when that love is truly sacred to us in the sense of being most important, then we have to take action in the world to enact that love. We are called to make the earth a place where all the children can thrive.

Is there someone who passively watches his children growing up? We constantly and maximally invest ourselves into our children to realize our vision of happiness. But not for us - for those children. It's not enough that we molest ourselves, so we have to molest the children as well.

Even though I'm a family guy, there is something that feels really beautiful about eliminating all children from flying. So, children have to fly on child-only planes. And the pilots have to be children as well.

I want children who can make eye contact. I want children who know how to resolve conflicts with their peers. I want children who understand the dynamics of interpersonal relationships that are physical and tactile. I do not want children that only know how to interface with the world through a screen.

Everybody has a different idea of when those good old days were, but everyone is convinced that there was a time when literature really mattered and that it doesn't now. They also tend to believe that it really matters someplace else - in very improbable places often. Russia is someone's idea of a place where literature really counts.

Well, you sort of get out of the pool room, you get out of the Marine Corps, you get out and read some literature, you become involved with people who also want to know and are ready to share some ideas about literature and thoughts, and it becomes nourished that way.