We who make stories know that we tell lies for a living. But they are good lies that say true things, and we owe it to our readers to build them as best we can. Because somewhere out there is someone who needs that story. Someone who will grow up with a different landscape, who without that story will be a different person. And who with that story may have hope, or wisdom, or kindness, or comfort. And that is why we write.
When a reader falls in love with a book, it leaves its essence inside him, like radioactive fallout in an arable field, and after that there are certain crops that will no longer grow in him, while other, stranger, more fantastic growths may occasionally be produced.
Books. They are lined up on shelves or stacked on a table. There they are wrapped up in their jackets, lines of neat print on nicely bound pages. They look like such orderly, static things. Then you, the reader come along. You open the book jacket, and it can be like opening the gates to an unknown city, or opening the lid of a treasure chest. You read the first word and you're off on a journey of exploration and discovery.
"1. Everyone is entitled to their opinion about the things they read (or watch, or listen to, or taste, or whatever). They're also entitled to express them online. 2. Sometimes those opinions will be ones you don't like. 3. Sometimes those opinions won't be very nice. 4. The people expressing those may be (but are not always) assholes. 5. However, if your solution to this "problem" is to vex, annoy, threaten or harrass them, you are a bigger asshole. 6. You may also be twelve. 7. You are not responsible for anyone else's actions or karma, but you are responsible for your own. 8. So leave them alone and go about your own life."
Books can truly change our lives: the lives of those who read them, the lives of those who write them. Readers and writers alike discover things they never knew about the world and about themselves.
Up until then, whenever anyone had mentioned the possibility of making a film adaptation, my answer had always been, 'No, I'm not interested.' I believe that each reader creates his own film inside his head, gives faces to the characters, constructs every scene, hears the voices, smells the smells. And that is why, whenever a reader goes to see a film based on a novel that he likes, he leaves feeling disappointed, saying: 'the book is so much better than the film.
It has long been my belief that everyone's library contains an Odd Shelf. On this shelf rests a small, mysterious corpus of volumes whose subject matter is completely unrelated to the rest of the library, yet which, upon closer inspection, reveals a good deal about its owner.
Every reader finds himself. The writer's work is merely a kind of optical instrument that makes it possible for the reader to discern what, without this book, he would perhaps never have seen in himself.
Life ... is a bit like reading. ... If all your responses to a book have already been duplicated and expanded upon by a professional critic, then what point is there to your reading? Only that it's yours. Similarly, why live your life? Because it's yours. But what if such an answer gradually becomes less and less convincing?
Let us record the atoms as they fall upon the mind in the order in which they fall, let us trace the pattern, however disconnected and incoherent in appearance, which each sight or incident scores upon the consciousness. Let us not take it for granted that life exists more fully in what is commonly thought big than in what is commonly thought small.
The reader! You, dogged, uninsultable, print-oriented bastard, it's you I'm addressing, who else, from inside this monstrous fiction. You've read me this far, then? Even this far? For what discreditable motive? How is it you don't go to a movie, watch TV, stare at a wall, play tennis with a friend, make amorous advances to the person who comes to your mind when I speak of amorous advances? Can nothing surfeit, saturate you, turn you off? Where's your shame?
The characters within a book were, from a certain point of view, identical on some fundamental level - there weren't any images of them, no physical tangibility whatsoever. They were pictures in the reader's head, constructs of imagination and ideas, given shape by the writer's work and skill and the reader's imagination. Parents, of a sort.
Bookish people, who are often maladroit people, persist in thinking they can master any subtlety so long as it's been shaped into acceptable expository prose.
Literature does not occur in a vacuum. It cannot be a monologue. It has to be a conversation, and new people, new readers, need to be brought into the conversation too.
Perhaps they were looking for passion; perhaps they delved into this book as into a mysterious parcel - a gift box at the bottom of which, hidden in layers of rustling tissue paper, lay something they'd always longed for but couldn't ever grasp.
As readers, we are seldom interested in the fine sentiments of a lesson learnt; we seldom care about the good manners of morals. Repentance puts an end to conversation; forgiveness becomes the stuff of moralistic tracts. Revenge - bloodthirsty, justice-hungry revenge - is the very essence of romance, lying at the heart of much of the best fiction.
"Zaid's finest moment, however, comes in his second paragraph, when he says that "the truly cultured are capable of owning thousands of unread books without losing their composure or their desire for more." That's me! And you, probably! That's us!"
Every article and review and book that I have ever published has constituted an appeal to the person or persons to whom I should have talked before I dared to write it. I never launch any little essay without the hope--and the fear, because the encounter may also be embarrassing--that I shall draw a letter that begins, 'Dear Mr. Hitchens, it seems that you are unaware that...' It is in this sense that authorship is collaborative with 'the reader.' And there's no help for it: you only find out what you ought to have known by pretending to know at least some of it already. It doesn't matter how obscure or arcane or esoteric your place of publication may be: some sweet law ensures that the person who should be scrutinizing your work eventually does do so.
This is the strange life of books that you enter along as a writer, mapping an unknown territory that arises as you travel. If you succeed in the voyage, others enter after, one at a time, also alone, but in communion with your imagination, traversing your route. Books are solitudes where we meet.
"Writers think in metaphors. Editors work in metaphors. A great reader reads in metaphors. All are continually asking, "What does this represent? What does it stand for?" They are trying to take everything one level deeper. When they get to that level, they will try to go deeper again."
Thanks for being the kind of person who likes to pick up a book. That's a genuinely great thing. I met a librarian recently who said she doesn't read because books are her job and when she goes home, she just wants to switch off. I think we can agree that that's creepy as hell.
When you write it, don't write it in the manner of a spooky story. Don't try to give an explanation. Just say that I don't know what to make of it, just write it like I tell it, so the reader can make up his own mind.
The books on my shelves do not know me until I open them, yet I am certain that they address me -- me and every other reader -- by name; they await our comments and opinions. I am presumed in Plato as I am presumed in every book, even in those I'll never read.
Even if readers claim that they 'take it all with a grain of salt', they do not really. They yearn to believe, and they believe, because believing is easier than disbelieving, and because anything which is written down is likely to be 'true in a way'.
And it is no true wisdom that you offer your disciples, but only its semblance, for by telling them of many things without teaching them anything, you will make them seem to know much, while for the most part they will know nothing. And as men filled not with wisdom but with the conceit of wisdom, they will be a burden to their fellow-men.
Decker looked behind him. 'That's nice.' 'What?' said Mars, looking too. 'Where the NAACP office was they built a public library. You know people who read are a lot more tolerant and open-minded than those who don't.' 'Great, so let's get everybody in the world a library card.
What I can say with honesty is that my research in Russia and in Germany has brought me nothing but the worsening of my eyesight and the waste of years of my life. And I did it all for you.
Geschichten sind unser Gedachtnis, Bibliotheken die Lagerstatten fur dieses Gedachtnis und Lesen das Handwerk, mit dem wir dieses Gedachtnis neu erschaffen konnen, indem wir es rezitieren und glossieren, es wieder in unsere eigene Erfahrung ruckubersetzen und so auf dem aufbauen, was fruhere Generationen fur bewahrenswert hielten.
This is where we should start focusing this conversation: how men (as readers, critics, and editors) can start to bear the responsibility for becoming better, broader readers.