He [Hemingway] used a stand-up work place he had fashioned out of the top of of a bookcase near his bed. His portable typewriter was snugged in there and papers were spread along the top of the bookcase on either side of it. He used a reading board for longhand writing.
The fiction I've written and published is certainly inflected by the work of authors I was reading or translating at the time. One of my methods for developing my own voice in fiction, a process I am taking very slowly and deliberately, is through these very intense encounters with certain writers. Strength and power in fiction is being able to resist these intoxicating voices, recognizing that they are the signatures of other writers and not one's own.
We want our teachers to be trained so they can meet the obligations, their obligations as teachers. We want them to know how to teach the science of reading. In order to make sure there's not this kind of federal-federal cufflink.
I believe in open government. I've always believed in open government. I don't e-mail, however. And there's a reason: I don't want you reading my personal stuff.
I have to create a circle of reading for myself: Epictetus, Marcus Aurelius, Lao-Tzu, Buddha, Pascal, The New Testament. This is also necessary for all people.
People have pointed out evidences of personal feeling in my notices as if they were accusing me of a misdemeanor, not knowing that criticism written without personal feeling is not worth reading. It is the capacity for making good or bad art a personal matter that makes a man a critic.
The Brazilian national identity is not one of João Gilberto Noll primary concerns. This does not mean social critique is absent: race, gender, and class relations are considered in Quiet Creature. And these are universal relational matters, not necessarily particular to any country. Some critics have commented that understanding the specific Brazilian political context of the novel is helpful for reading Quiet Creature. This may be true, but it's not prerequisite for understanding it.
For Dicey, writing in 1885, and for me reading him some seventy years later, the rule of law still had a very English, or at least Anglo-Saxon, feel to it. It was later, through Hayek's masterpieces "The Constitution of Liberty" and "Law, Legislation and Liberty" that I really came to think this principle as having wider application.
If you're reading something from a Nobel Prize-winning physicist next to some guy in his underwear writing in his basement, or his mom's basement, on text, it looks like it's equally plausible.
We agreed that people are now afraid of the English language. He [T.S. Eliot] said it came of being bookish, but not reading books enough. One should read all styles thoroughly.
I cannot find a faithful message-bearer," he wrote to his friend, the scholar Atticus. "How few are they who are able to carry a rather weighty letter without lightening it by reading.
The truth is we're all probably more creative than we realize, except we spend our lives watching TV or reading somebody else's book. We never pick up a brush and stand in front of our own easel.