Those of us who can remember our childhoods will recall how ardently we relished the moment of the bedtime story, when our mother or father would sit down beside us in the semi-dark and read from a book of fairy tales.
Paul AusterRead
Every novel is an equal collaboration between the writer and the reader and it is the only place in the world where two strangers can meet on terms of absolute intimacy.
Interpretation
This quote emphasizes the collaborative nature of reading and writing, suggesting that both the writer and reader contribute to the creation of a story.
In this quote, Paul Auster highlights the intimate relationship that forms between a reader and a writer through literature. He suggests that a novel acts as a canvas where the writer paints their ideas, but it is the reader's interpretation that brings those ideas to life, creating a unique experience of connection and understanding that is rare in the wider world.
In practice
This quote can be used during a book club discussion to highlight the shared experience of reading.
Those of us who can remember our childhoods will recall how ardently we relished the moment of the bedtime story, when our mother or father would sit down beside us in the semi-dark and read from a book of fairy tales.
For a man who finds life tolerable only by staying on the surface of himself, it is natural to be satisfied with offering no more than his surface to others. There are few demands to be met, and no commitment is required. Marriage, on the other hand, closes the door. Your existence is confined to a narrow space in which you are constantly forced to reveal yourself – and therefore, constantly obliged to look into yourself, to examine your own depths.
He knew that his wings could ignite at any moment, but the closer he came to touching the fire, the more he sensed that he was fulfilling his destiny. As he put it in his journal that night: If I mean to save my life, then I have to come within an inch of destroying it.
People look at the same passage, and one person will say this is the best thing he's ever read, and another person will say it's absolutely idiotic. I mean, there's no way to reconcile those two things. You just have to forget the whole business of what people are saying.
Bodies count, of course - they count more than we're willing to admit - but we don't fall in love with bodies, we fall in love with each other. We all know that, but the moment we go beyond a catalogue of surface qualities and appearances, words begin to fail us, to crumble apart in mystical confusions and cloudy, unsubstantial metaphors.
At that point, Noriko finally breaks down and begins to cry sobbing into her hands as the floodgates open - this young woman who has suffered in silence for so long, this good woman who refuse to believe she's good, for only the good doubt their own goodness, which is what makes them good in the first place. The bad know they are good, but the good know nothing. They spend their lives forgiving others, but they can't forgive themselves.
THE WRITER can get free of his writing only by using it, that is, by reading oneself. As if the aim of writing were to use what is already written as a launching pad for reading the writing to come. Moreover, what he has written is read in the process, hence constantly modified by his reading. The book is an unbearable totality. I write against a background of facets.
When we talk about books, we rarely talk about the economic side of writing, especially of writing literary works, and that, at base, it's a pretty costly enterprise.
The problem with literature, with writing, is that it works sometimes in terms of correction of social ills. Other times, it just does not suffice.
Race is the true protagonist of the American novel. Our most popular classic fictions have known this, from 'Moby Dick' to 'Beloved;' all these books take on race or talk it out, often in other forms; they are less 'horror stories for boys' than ghost stories from a haunted conscience.
If I could sum it up in 50 words, I wouldn't have needed to write a whole novel about it.
At one time if you were a black writer you had to be one of the best writers in the world to be published. You had to be great. Now you can be good. Mediocre. And that's good.
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