Moshe Kasher Quotes

What I really mean is that a great book should leave you with many experiences, and slightly exhausted at the end. You live several lives while reading it.

In books I have traveled, not only to other worlds, but into my own.

Adverbs is a book about love, and I thought that was pretty cheerful, but people who are reading it now are telling me that it's actually quite dark.

Reading is an escape, an education, a delving into the brain of another human being on such an intimate level that every nuance of thought, every snapping of synapse, every slippery desire of the author is laid open before you like, well, a book.

The music I'm making is like an explosion of love. It moves away from super dark, its more romanticized and floral, but still quite black.

I always thought the joy of reading a book is not knowing what happens next. (Leonard Shelby, Memento)

Do not, do not, do not books for ever hammer at people like perpetual bells? When, between two books, silent sky appears: be glad

All morning I struggled with the sensation of stray wisps of one world seeping through the cracks of another. Do you know the feeling when you start reading a new book before the membrane of the last one has had time to close behind you? You leave the previous book with ideas and themes -- characters even -- caught in the fibers of your clothes, and when you open the new book, they are still with you.

Why do you keep reading a book? Usually to find out what happens. Why do you give up and stop reading it? There may be lots of reasons. But often the answer is you don't care what happens. So what makes the difference between caring and not caring? The author's cruelty. And the reader's sympathy...it takes a mean author to write a good story.

Salter is a writer who particularly rewards those for whom reading is an intense pleasure. He is among the very few North American writers all of whose work I want to read, whose as-yet-unpublished books I wait for impatiently.

And the process of reading is such a private one. I once came into a room where a friend of mine was reading one of my books, and he clicked his tongue impatiently and shooed me off.

I have this very moment finished reading a novel called The Vicar of Wakefield [by Oliver Goldsmith].... It appears to me, to be impossible any person could read this book through with a dry eye and yet, I don't much like it.... There is but very little story, the plot is thin, the incidents very rare, the sentiments uncommon, the vicar is contented, humble, pious, virtuous--but upon the whole the book has not at all satisfied my expectations.

Radio is the medium that most closely approximates the experience of reading. As a novelist, I find it very exciting to be able to reach people who might not ever pick up one of my books, either because they can't afford it (as is often the case in Latin America), or because they just don't have the habit of reading novels.

The books transported her into new worlds and introduced her to amazing people who lived exciting lives. She went on olden-day sailing ships with Joseph Conrad. She went to Africa with Ernest Hemingway and to India with Rudyard Kipling. She travelled all over the world while sitting in her little room in an English village.

Man can start with aversion and end with love, but if he begins with love and comes round to aversion he will never get back to love.

We like books that have a lot of dreck in them, matter which presents itself as not wholly relevant (or indeed, at all relevant) but which, carefully attended to, can supply a kind of "sense" of what is going on. This "sense" is not to be obtained by reading between the lines (for there is nothing there, in those white spaces) but by reading the lines themselves looking at them and so arriving at a feeling not of satisfaction exactly, that is too much to expect, but of having read them, of having "completed" them.

You can't know what a book is about until the very end. This is true of a book we're reading or writing.

it is nice that nobody writes as they talk and that the printed language is different from the spoken otherwise you could not lose yourself in books and of course you do you completely do.

With the audience I write for, I want to make sure that the reader is eagerly turning every page. I want each of my books to be an absorbing reading experience, an authentic piece of literature. The worst thing that can happen is for a book to have a chilling effect on the reader, to have a kid pick it up and look at a bunch of footnotes and think, No, I'm not going to read this, it's too intimidating.

When I take up a book I have read before, I know what to expect; the satisfaction is not lessened by being anticipated. I shake hands with, and look our old tried and valued friend in the face,--compare notes and chat the hour away.

It is chiefly through books that we enjoy the intercourse with superior minds.

The power of reading a great book is that you start thinking like the author. For those magical moments while you are immersed in the forests of Arden, you are William Shakespeare; while you are shipwrecked on Treasure Island, you are Robert Louis Stevenson; while you are communing with nature at Walden, you are Henry David Thoreau. You start to think like they think, feel like they feel, and use imagination as they would. Their references become your own, and you carry these with you long after you've turned the last page.

Good books don't give up all their secrets at once.

I prefer reading e-books on a high resolution LCD screen - like the iPod Touch's - although the pixel density could and should be much higher.

Books and doors are the same thing. You open them, and you go through into another world.