Tom Robbins Quotes

I don't care if a reader hates one of my stories, just as long as he finishes the book.

With a 660-page book, you don't read every sentence aloud. I am terrified for the poor guy doing the audio book. But I do because I think we hear them aloud even if it's not an audio book. The other goofy thing I do is I examine the shape of the words but not the words themselves. Then I ask myself, "Does it look like what it is?" If it's a sequence where I want to grab the reader and not let the reader go then it needs to look dense. But at times I want the reader to focus on a certain word or a certain image and pause there.

One of the pleasures of reading is seeing this alteration on the pages, and the way, by reading it, you have made the book yours.

Readers are less and less seen as mere non-writers, the subhuman "other" or flawed derivative of the author; the lack of a pen is no longer a shameful mark of secondary status but a positively enabling space, just as within every writer can be seen to lurk, as a repressed but contaminating antithesis, a reader.

The success of the poem is determined not by how much the poet felt in writing it, but by how much the reader feels in reading it.

People have proven over and over that they will read if they are given something they like. The problem with reading is not reading, its that almost everything out there sucks. For so long, publishing has been run by a cartel of snobby pseudo-intellectual failed writers, and the resulting output has reflected not what the market wants, but what they think people are supposed to read.

Keep in mind that books, like art museums, are not always geared to the desires of the reader.

I think I made a mistake with [Jane] Austen by reading all six in a row. There are similarities to the plots so by the time I got to the last one I could anticipate what was happening too easily. But her characterizations are amazing.

Reading yields a wish to write, I think, except if the reading is dull and uninspiring.

...what I enjoy in a narrative is not directly its content or even its structure, but rather the abrasions I impose upon the fine surface: I read on, I skip, I look up, I dip in again. Which has nothing to do with the deep laceration the text of bliss inflicts upon language itself, and not upon the simple temporality of its reading.

People often ask me why my style is so simple. It is, in fact, deceptively simple, for no two sentences are alike. It is clarity that I am striving to attain, not simplicity. Of course, some people want literature to be difficult and there are writers who like to make their readers toil and sweat. They hope to be taken more seriously that way. I have always tried to achieve a prose that is easy and conversational. And those who think this is simple should try it for themselves.

It has always been on the written page that the world has come into focus for me.

I don't think people need to know much about me to understand the book, or to enjoy it. The book stands by itself. Over the last several years, my life has been all about writing these books, but the books aren't about my life.

reading is not a passive act. It's a creative act. It's a relationship between the writer and a person the writer will probably never meet. I think it's very wrong to write in a way that leaves no room for the reader to maneuver. I don't want to get in the way. What I'd really like to do is to perform the Indian Rope Trick - go higher and higher and eventually disappear.

For my part, the good novel of character is the novel I can always pick up; but the good novel of incident is the novel I can never lay down.

Since I hold no judgments against my characters, no matter how heinous they might seem, I present them as real people with their own moral centers. We might feel those moral centers are mis-calibrated, but they are there and are the rudders that propel them. This makes reading my work a visceral roller coaster, 'cause the reader must embark on the journey of the protagonist equipped only with his or her own moral center.

Read proudly--put the duty of being read invariably on the author. If he is not read, whose fault is it? I am quite ready to be charmed, but I shall not make-believe I am charmed.

It's strange because sometimes, I read a book, and I think I am the people in the book.

Book after book, I get hooked, every time the writer talks to me like a friend.

I do think that the imagination you create yourself when you're reading, to create the tone and the accent of the world, is an individual accomplishment that someone is imposing upon you by listening to them read it. Because you're listening to their interpretation, and their emphasis would probably be different from the one that your brain makes while you're reading it.

As long as you notice, and have to count the steps, you are not yet dancing but only learning to dance. A good shoe is a shoe you don't notice. Good reading becomes possible when you need not conciously think about eyes, or light, or print, or spelling. The perfect church service would be the one we were almost unaware of; our attention would have been on God.

People should be interested in books, not their authors.

The better the book the more room for the reader.

In France I'm very private, I don't like talking about my life, and I imagined that people would think that I'm now an open book.