If someone looks into your eyes, I read in a book one time, he'll see right into your soul. I didn't want anyone to see into my soul.
It was the kind of love you read in the books and watched in the movies. Instant. Epic. Glorious. And I know there's nothing perfect in this world, but I swear, at that time, it was a perfect love.
But even before that, in 1980 I went so far as to write a book about what had happened. And I wrote all about the bank robbery, I went ahead and printed it even though I had no use immunity for it.
It would be wrong to say I enjoy having rows, because that would be un-Christian. If people attack me, then I respond, or if they do very wicked things. Then they must be brought to book.
My books were always full of ink blots, always stained and covered with smeared sketches and pictures, which one draws idly when his attention wanders from his task.
I had no idea I'd end up writing four books when I completed 'Mortal Engines.' I didn't even think it would find a publisher.
When I stopped performing for 16 years and lived in Michigan and was married and raising my children, I wrote about four or five books. I haven't published them.
Me and Johnny Rotten have been talking about doing a movie of his book, No Irish, No Dogs, No Blacks. We have a script, so hopefully that's going to happen at some point in our careers.
I think plays, like books, are endemic. They grow out of the soil of the writer and the place he's writing about. I think, you just can't move them about, you know.
When, in the third book, we do learn the identity of the Blue Rose murderer, the information comes in a muted, nearly off-hand manner, and the man has died long before.
There were a lot of adventure books for boys, historical novels by Kenneth Roberts, and whatever mystery novels the alarmed librarian imagined might not corrupt an eager but innocent youth.
Japan, Germany, and India seem to me to have serious writers, readers, and book buyers, but the Netherlands has struck me as the most robust literary culture in the world.
One of the things I have tried to do with this book and with all of them really is avoid that simple, easy, reductionist view of motivation and to show we do things for a complex net of reasons, a real braid of reasons.
Writing keeps death at bay. Every book I write is a triumph over death. ... If we did not know we’d die, we’d wander around and sleep like cats.
There are no taboos. Every topic is open, however shocking. It is the way that the topics are handled that's important, and that applies whether it is a 15-year-old who is reading your book or someone who is 55.
First you wonder if they're separate stories, but no, they're not, they're contingent stories and they form a pattern. And you begin with some of the island as the place to which the heroine of the book returns.
There is a book yearning to come out of me: about how we can build the new collaboration economy, and the role of 'openness' in our quest for efficient use of resources and as a driver of innovation.
I have to declare in all candor that no one interested in being published in our time can afford to be so naive as to believe that a book will make it merely because it's good.
Religious fanatics want people to switch off their own minds, ignore the evidence, and blindly follow a holy book based upon private 'revelation'.
I did not end up as broadly educated as my Cambridge colleagues, but I graduated probably better equipped to write a book on my chosen subject.
The earliest books in the New Testament to be written were the Epistles, not the Gospels. It's almost as though Saint Paul and others who wrote the Epistles weren't that interested in whether Jesus was real.
