Quotes About Reader

Incomprehensibility, Kerouac suggests, is not a function of the text but of the reader's limited perception. Innovative narratives, he acknowledges, become comprehensible after their unfamiliar structures have been conventionalized over time.

There are a number of writers who believe it is their duty to throw as many curve balls at the reader as possible. To twist and twist again. These are the Chubby Checkers of crime fiction and, while I admire the craft, I think that it can actually work against genuine suspense.

When you think of a great twist or a red herring or a way of misdirecting the reader, it is good, but you know that they are just tricks at the end of the day, and the way to keep interest is to write characters that people care about.

Of course a poem is a two-way street. No poem is any good if it doesn't suggest to the reader things from his own mind and recollection that he will read into it, and will add to what the poet has suggested. But I do think poetry readings are very important.

I had thought for years, probably 30 or 40 years, that it would be a lot of fun to try my hand at a classic English mystery novel... I love that form very much because the reader is so familiar with all of the types of characters that are in there that they already identify with the book.

Both types of books - fiction and nonfiction - are a search for story. As a writer and a reader, there's nothing I crave more than a good story!

Journalism's ultimate purpose is to inform the reader, to bring him each day a letter from home and never to permit the serving of special interests.

In memoir, you have to be particularly careful not to alienate the reader by making the material seem too lived-in. It mustn't have too much of the smell of yourself, otherwise the reader will be unable to make it her own.

'The Reader' is about a young man's experience of falling in love with somebody who, it turns out, made some choices that were unavoidable in her life that resulted in horrific crimes against humanity.

Je le sais désormais, en tant que lecteur, il faut faire confiance à l'auteur, au poète. Ils savent comment s'y prendre pour nous extirper de notre vie ordinaire et nous envoyer tanguer dans un autre monde dont nous n'avions même pas soupçonné l'existence. C'est ce que font les auteurs de talent. C'est ce que me fit M. Baudelaire.

Books are something social - a writer speaking to a reader - so I think making the reading of a book the center of a social event, the meeting of a book club, is a brilliant idea.

I believe that poems are a score for performance by the reader, and that you become the speaking voice. You don't read or overhear the voice in the poem - you are the voice in the poem.

I don't mind a narrator who's self-deceiving, but the clues for their truth have to be there for the reader to see.

In sum, the Bible itself does not lay out the full biblicist program or anything like it. The Bible contains passages showing, for example, a reader of scripture unable to understand what it teaches unless someone guides him (Acts 8:30–31).

The most satisfying compliment a reader can pay is to tell me that he or she feels personally addressed. Think of your own favorite authors and see if that isn't precisely one of the things that engages you, often at first without your noticing it.

When others write about people who live on the edge, who challenge their comfortable lives—and it has happened to me—they usually do it in a way that allows a reader a way out. You could render generosity into pathology, commitment into obsession. That's all in the repertory of someone who wants to put the reader at ease rather than conveying the truth in a compelling manner.

It seems that the Parisian Oulipo group has recently constructed a matrix of all possible murder-story situations and has found that there is still to be written a book in which the murderer is the reader. Moral: there exist obsessive ideas, they are never personal; books talk among themselves, and any true detection should prove that we are the guilty party.

in a story there is always a reader, and this reader is a fundamental ingredient not only of the process of storytelling but also of the tale itself. Today

Qué lector modelo quería yo mientras escribía? Un cómplice, sin duda, que entrase en mi juego. Lo que yo quería era volverme totalmente medieval y vivir en el Medievo como si fuese mi época (y viceversa).

Aún no se ha escrito ningún libro donde el asesino sea el lector.

her metin, okurdan onun iÅŸine kat?lmas?n? bekleyen tembel bir araçt?r.

Between the unattainable intention of the author and the arguable intention of the reader, there is the transparent intention of the text, which refutes untenable interpretations.

there is still to be written a book in which the murderer is the reader. Moral: there exist obsessive ideas, they are never personal; books talk among themselves, and any true detection should prove that we are the guilty party.

I understood it this evening: the author has to die in order for the reader to become aware of his truth.