Lena Dunham Quotes

I don't generally read reviews.

I often don't read reviews.

I don't read reviews.

I feel that form determines how readers read a book and how they judge it.

I get thousands of letters, and they give me a feeling of how each book is perceived. Often I think I have written about a certain theme, but by reading the letters or reviews, I realise that everybody sees the book differently.

A work survives its readers; after a hundred or two hundred years, it is read by new readers who impose on it new modes of reading and interpretation. The work survives because of these interpretations, which are, in fact, resurrections: without them, there would be no work.

It's what the reader thinks that counts.

Critics have a problem with sentimentality. Readers do not. I write for readers.

All literature consists of whatever the writer thinks is cool. The reader will like the book to the degree that he agrees with the writer about what's cool.

I personally read criticism - at least by writers I enjoy - to stimulate a conversation in my own mind, and I like to think that's the function I serve for others.

Sometimes I read reviews, and without exception I will read critical essays that are sent to me. The critical essays are interesting on their own terms.

The way a book is read, which is to say, the qualities a reader brings to a book can have as much to do with its worth as anything the author puts into it.

I don't read reviews until after I'm done with a production, but when I do finally get to them, I'm always sort of floored by what the bad ones say.

I learn a lot about my poems when I read them by the way people respond to them.

Few Amazon punters will explore a book with the depth of an 800-word review.

The writer will write in his or her words, but the readers, even when they are not reading you, will take it elsewhere entirely.

I can't control what a reader takes from a story.

A narrator should not supply interpretations of his work; otherwise he would have not written a novel, which is a machine for generating interpretations.

The house of fiction has in short not one window, but a million, ... but they are, singly, as nothing without the posted presence of the watcher.

I don't want to hear at all what the artist thinks about his art. And I'm not writing for the artist. I'm writing for the reader, and I want to tell the reader what I think.

Poets, on the face of it, have either got to be easier or to write their own notes; readers have either got to take more trouble over reading or cease to regard notes as pretentious and a sign of bad poetry

I don't do a lot of foisting, because when it comes to books I don't really like to be foisted upon.

Read widely, and without apology. Read what you want to read, not what someone tells you you should read.

It's in being read that a book becomes a book, and in each of a million different readings a book become one of a million different books . . .

Readers bring their own experiences, their own range of - their own wisdom, their own knowledge, their own insights to poem and the meaning of a poem takes place in the negotiation between the poet, the poem and the reader.