Top 1200 Kill A Mockingbird Novel Quotes & Sayings - Page 3

I got out of the elevator and confronted Mr. Wexler. “Killing is wrong.” “We kill chickens,” Mr. Wexler said. “We kill cows. We kill trees. So big deal, we kill some drug dealers.” It was hard to argue with that kind of logic because I like cows and chickens and trees much better than drug dealers.

Obama is making a choice now that will lead to the deaths of many thousands of civilians in Afghanistan by American hands. By ordinary standards of presidents, he is a decent man. But those standards aren't good enough. He's in a position either to kill or not to kill, and he's made the decision to kill.

Only one novel is a novel: that is a successful novel.

What distinguishes us humans from animals is our conscience. Once our conscience is gone we lose our humanness. Without conscience, humans can be far more dangerous than beasts. Beasts kill for food, humans kill for ideology. Beasts kill just enough to eat. Humans can kill endlessly.

Nuclear weapons kill Americans - they don't kill Republicans or Democrats - they kill Americans.

I feel that whatever virtues the novel may have are very much connected with the limitations you mention. I am not writing a conventional novel, and I think that the quality of the novel I write will derive precisely from the peculiarity or aloneness, if you will, of the experience I write from.

I'm skeptical that the novel will be "re­invented." If you start thinking about a medical textbook or something, then, yes, I think that's ripe for reinvention. You can imagine animations of a beating heart. But I think the novel will thrive in its current form. That doesn't mean that there won't be new narrative inventions as well. But I don't think they'll displace the novel.

You have to understand, writing a novel gets very weird and invisible-friend-from-childhood-ish. Then you kill that thing, which was never really alive except in your imagination, and you're supposed to go buy groceries and talk to people at parties and stuff.

I wrote my first novel and my second novel in Chicago. It was the place where I became a writer. It's my favorite city.

A novel is not a play. A novel takes one reader at a time into its confidence. It can be shockingly personal. Private, even.

I'd never written a novel before, and I wrote a novel, and that turned out OK.

A novel is utterly your own creation, a very private process. I think of a novel as a noun and a screenplay as a verb. In a novel, very little needs to happen; you can explore a person's memories and thoughts and fantasies. In a screenplay, it's all action; you must push the story on.

I love Richard Yates, his work, and the novel, Revolutionary Road. It's a devastating novel.

I never know when I finish the novel I am writing which will be the next novel out of the station.

The contemporary crime novel is, at its best, a novel of character. That's where the suspense comes from.

Followers of the Way [of Chán], if you want to get the kind of understanding that accords with the Dharma, never be misled by others. Whether you're facing inward or facing outward, whatever you meet up with, just kill it! If you meet a buddha, kill the buddha. If you meet a patriarch, kill the patriarch. If you meet an arhat, kill the arhat. If you meet your parents, kill your parents. If you meet your kinfolk, kill your kinfolk. Then for the first time you will gain emancipation, will not be entangled with things, will pass freely anywhere you wish to go.

They say that 'Guns don't kill people, people kill people.' Well I think the gun helps. If you just stood there and yelled BANG, I don't think you'd kill too many people.

There is no denying that we are suffering from a collective neurosis and the novel which does not face this is not a novel of our time.

Oh Mockingbird have you ever heard words that I’ve never heard

Ye may kill for yourselves, and your mates, and your cubs as they need, and ye can; But kill not for pleasure of killing, and seven times never kill Man!

No writer, I believe, should attempt a novel before he is thirty, and not then unless he has been hopelessly and helplessly involved in life. For the writer who goes out to find material for a novel, as a fishermen goes out to sea to fish, will certainly not write a good novel. Life has to be lived thoughtlessly, unconsciously, at full tilt and for no purpose except its own sake before it becomes, eventually, good material for a novel.

I'm obsessed with the Victorian novel. I can't help it. I feel like the novel then was so powerful and agile in ways I'm not sure it is now.

you can't kill love. you can't even kill it with hate. you can kill in-love, and loving, and even loveliness. you can kill them all, or numb them into dense, leaden regret, but you can't kill love itself. love is the passionate search for a truth other than your own; and once you feel it, honestly and completely, love is forever. every act of love, every moment of the heart reaching out, is a part of the universal good: it's a part of God, or what we call God, and it can never die.

A novel is not an allegory.... It is the sensual experience of another world. If you don't enter that world, hold your breath with the characters and become involved in their destiny, you won't be able to empathize, and empathy is at the heart of the novel. This is how you read a novel: you inhale the experience. So start breathing.

It's disingenous for me to say that I wasn't trying to write a moral novel. By its very nature as a novel about the Iraq War, Fobbit steps into the political conversation. There's no way to avoid that. I can appreciate that readers are probably going to line up on one side of the novel or the other. I hope they go to those polar extremes, actually.

Cut word lines — Cut music lines — Smash the control images — Smash the control machine — Burn the books — Kill the priests — Kill! Kill! Kill!

Writing a novel is not at all like riding a bike. Writing a novel is like having to redesign a bike, based on laws of physics that you don't understand, in a new universe. So having written one novel does nothing for you when you have to write the second one.

I just don't have the desire no more, I don't have the stomach to do it no more. I don't even kill insects in my house. I just don't kill anything no more. I used to kill pigeons, rip their heads off, 'You dirty rat pigeon!' I don't even have the heart to kill an animal no more. I just changed my whole life in general. That probably could have changed the way I fight.

I've always been a fan of the 19th century novel, of the novel that is plotted, character-driven, and where the passage of time is almost as central to the novel as a major minor character, the passage of time and its effect on the characters in the story.

If only a group of people were more important to me than the idea of a Novel, I might begin a novel.

Another reason I think the novel will survive is that the reader has to work in a novel. In a film, you are presented with someone else's imagination exactly bodied out. The marvelous thing about a novel is that every reader will imagine even the very simplest sentence slightly differently.

Kill you all!" The clown was laughing and screaming. "Try to stop me and I'll kill you all! Drive you crazy and then kill you all! You can't stop me!

The difficulty of writing a second novel is directly proportional to how successful the first novel was, it seems.

In '94, I started writing a novel about an enormous terrorist act that destroyed the United States. The novel takes place twenty years after this destruction, with all the stuff that we're dealing with now - a dirty war, the disappeared, the concept of terrorism. Anyway, 9/11 happened some years into the process, and I was like, OK, I don't have a novel.

Writing a novel is an act of self-annihilation as much as self-discovery. You can kill whole appetites and flood whole depths while plumbing them, but if you are serious about it you also get to put something into the world that wasn't quite there before.

Why you kill me? I never did you anything. Not kill me! I beg not to be locked up. Never let me out of my prison - not kill me! You kill me before I understand what life is. You must tell me why you locked me up!

The novel's not organized like a screenplay. If you shot the novel, you'd have a twelve-hour movie.

The desire to write a novel is the single required prerequisite for writing a novel.

I've no objection to the term 'graphic novel,' as long as what it is talking about is actually some sort of graphic work that could conceivably be described as a novel. My main objection to the term is that usually it means a collection of six issues of Spider-Man, or something that does not have the structure or any of the qualities of a novel, but is perhaps roughly the same size.

I cringe when critics say I'm a master of the popular novel. What's an unpopular novel?

The story and the poem are obviously changed by being placed in the novel, so in a sense they're no longer the works that preceded the novel.

I've never discovered the idea for my next novel while I was still working on the current novel. Other writers don't suffer this.

At the time, we were mad at Moammar Gadhafi, which resulted in us bombing all over Libya and killing a bunch of people, but not him. Then Ronald Reagan gets up and says we're not trying to kill him, we're just dropping bombs. You can kill all the Libyans you want, but legally you can't try to kill the leader.

The process of writing a novel is getting to know more about the novel until you know everything about it. And it's been described as a kind of dreamlike state where you're letting the novel make its own shape, and you're putting into it the pleasure of creation, which is intoxicating.

A novel is like an animal you have to hunt down and kill. If you let it sit for two days, it's got a two-day head start. So, if I just look at it every day, I'm so much better off.

English writing tends to fall into two categories - the big, baggy epic novel or the fairly controlled, tidy novel. For a long time, I was a fan of the big, baggy novel, but there's definitely an advantage to having a little bit more control.

I've been thinking... Maybe you're a mockingbird... Mockingbirds imitate the songs of other birds... No, I've never heard of any copyright problems.

'The Fourth Hand' was a novel that came from twenty years of screenwriting concurrently with whatever novel I'm writing.

Well, people have been wondering what's going to happen to the novel for two hundred years; its death has been announced many times. You know, I think the novel keeps redefining the world we live in. What you should look for in a novel is a window nobody else is looking out of, that nobody else can look through. What you look for is a voice. You pick up a novel by someone such as Faulkner or Hemingway and you just read three pages and you know who wrote it. And that's what one should demand of a novelist.

People have been saying the novel is dead for as far back as I can remember. The novel will never die, but it will keep changing and evolving and taking different shapes. Storytelling, which is the basis of the novel, has always existed and always will.

The second purchase was my ranch, Mockingbird Hill. The third purchase was Longhorn cattle.

Writing a graphic novel is hard. It feels closer to a screen play than to a novel.

My dear, Find what you love and let it kill you. Let it drain you of your all. Let it cling onto your back and weigh you down into eventual nothingness. Let it kill you and let it devour your remains. For all things will kill you, both slowly and fastly, but it’s much better to be killed by a lover. ~ Falsely yours

There is a document in every novel in the world. Even in the most fantastic novel, even in science fiction, there is a documentary side. But, this side is not the crux of the matter. I don't think a novel's main donation, main gift, is the document. The document is there, but a novel goes beyond documentation. It goes into opening a new vista, opening a new perspective, showing familiar things in an unfamiliar way.

A novel, especially a first novel, is... really an emotional autobiography. All these emotions I'm embarrassed at having had, I've written about.

Women react differently: a French woman who sees herself betrayed by her husband will kill his mistress; an Italian will kill her husband; a Spaniard will kill both; and a German will kill herself.

I'm always trying to make something that is impossible to film. Why would somebody just read a novel when they can see it on TV or in the cinema? I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel, you can get right inside somebody's head.

A novel that does not uncover a hitherto unknown segment of existence is immoral. Knowledge is the novel's only morality.

Kill me, little sister. Kill me and you kill Jace, too.

I much prefer a plotted novel to a novel that is really conceptual.