The newspaper reader says: this party will ruin itself if it makes errors like this. My higher politics says: a party which makes errors like this is already finished -- it is no longer secure in its instincts.
Among the letters my readers write me, there is a certain category which is continuously growing, and which I see as a symptom of the increasing intellectualization of the relationship between readers and literature.
If you're going to spend two or three years immersed in a subject, you better be deeply interested in it, or it won't be interesting to the reader.
I love smart commercial fiction. Susan Isaacs, for example and the readers who interest me are, in the preponderance, women. I am one of them; I like the books they like.
There is no luck in literary reputation. They who make up the final verdict upon every book are not the partial and noisy readers of the hour when it appears; but a court as of angels, a public not to be bribed, not to be entreated, and not to be overawed, decides upon every man's title to fame.
People in a novel can be understood completely by the reader, if the novelist can be understood completely by the reader, if the novelist wishes; their inner as well as their outer life can be exposed.
The reader who is illuminated is, in a real sense, the poem.
Few novels truly deserve the description 'rollicking' in the way Mary Novik's Conceit does. A hearty, boiling stew of a novel, served up in rich old-fashioned story-telling. Novik lures her readers into the streets of a bawdy seventeenth-century London with a nudge and a wink and keeps them there with her infectious love of detail and character. A raunchy, hugely entertaining read that will leave you at once satiated and hungry for more.
With many readers, brilliancy of style passes for affluence of thought; they mistake buttercups in the grass for immeasurable gold mines under ground.
The reader wants to see something happen between pages one and four hundred, and nothing happens if the characters don't change.
Serving the reader by working cooperatively with the writer? Sometimes throwing 'the rules' out the window? Clearing the decks of pet peeves, mythical prohibitions and intractability? That is subversive. And welcome.
A presentation copy, reader,-if haply you are yet innocent of such favours-is a copy of a book which does not sell, sent you by the author.
Gutenberg made everybody a reader. Xerox makes everybody a publisher.
The demise of Google Reader, if logical, is a reminder of how far we've come from the cuddly old 'I'm Feeling Lucky' Google days, in which there was a foreseeably-astonishing delight in the way Google's evolving design tricks anticipated what users would like.
It is excellent discipline for an author to feel that he must say all that he has to say in the fewest possible words, or his readers is sure to skip them.
The goal for me is to pull in the reader and to have them ask questions.
Indeed a good quotation hardly ever comes amiss. It is a pleasing break in the thread of a speech or writing, allowing the speaker or writer to retire for an instant while another and greater makes himself heard. And this calling-up of the deathless dead implies also a community of mind with them, which the reader will not grudge the author lest he should seem to deny it to himself.
What I deeply want... is for Rumi to become vitally present for readers, part of what John Keats called our soul-making, that process that is both collective and uniquely individual, that happens outside time and space and inside, that is the ocean we all inhabit and each singular droplet-self.
The secret language of statistics, so appealing in a fact-minded culture, is employed to sensationalize, inflate, confuse, and oversimplify. Statistical terms and statistical methods are necessary in reporting the mass data of social and economic trends, business conditions, 'opinion' polls, the census. But without writers who use the words with honesty and understanding and readers who know what they mean, the result can only be semantic nonsense.
Aphorisms are essentially an aristocratic genre of writing. The aphorist does not argue or explain, he asserts; and implicit in his assertion is a conviction that he is wiser and more intelligent than his readers.
What a poem means is as much what it means to others as what it means to the author; and indeed, in the course of time a poet may become merely reader in respect to his own works, forgetting his original meaning.
A novel is a printed circuit through which flows the force of a reader's own life.
It may be that the most avid readers of new fiction in America today are film producers, an indication of the trouble were in.
A new reader shouldn't be able to find you in your work, though someone who's read more may begin to.
I would like the events never to be told directly by the author, but rather to be introduced (and several times, from various angles) by those among the characters on whom they will have had any effect. I would like those events, in the account they will make of them, to appear slightly distorted; a kind of interest stems, for the reader, from the simple fact that he should need to restore. The story requires his collaboration in order to properly take shape.
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