Hardcover Book Quotes

The paperback is very interesting but I find it will never replace the hardcover book -- it makes a very poor doorstop.

Their house had real hardcover books in it, and you often saw them lying open on the sofa, the words still warm from being read.

I've come to think of Europe as a hardcover book, America as the paperback version.

Hard-covered books break up friendships. You loan a hard covered book to a friend and when he doesn’t return it you get mad at him. It makes you mean and petty. But twenty-five cent books are different.

Their house had real hard-cover books in it, and you often saw them lying open on the sofa, the words still warm from being read.

How’s the book?” he drawled later, when he’d finished his workout and I’d grabbed the closest book I could find before he entered the living room. “Riveting.” I tried to focus on the page instead of the way Rhys’s sweat-dampened shirt clung to his torso. Six-pack abs for sure. Maybe even an eight-pack. Not that I was counting. “Sure seems that way.” Rhys’s face remained impassive, but I could hear the mocking bent in his voice. He walked to the bathroom, and without looking back, he added, “By the way, princess, the book is upside down.” I slammed the hardcover shut, my skin blazing with embarrassment.

My mother, who would always buy her books new, hated it the vintage hardcovers with their cracked spines and threadbare cloth covers. True you couldn't go in there and buy the latest best seller, but when you held one of those volumes in your hands, you were leafing through another person'a life. Someone else had once loved that story, too. Someone else had carried that book in a backpack, devoured it over breakfast, mopped up that coffee stain at a Paris café, cried herself to sleep after that last chapter. The scent was distinctive: a slight damp mildew, a punch of dust. To me, it was the smell of history.

O: You’re quite a writer. You’ve a gift for language, you’re a deft hand at plotting, and your books seem to have an enormous amount of attention to detail put into them. You’re so good you could write anything. Why write fantasy? Pratchett: I had a decent lunch, and I’m feeling quite amiable. That’s why you’re still alive. I think you’d have to explain to me why you’ve asked that question. O: It’s a rather ghettoized genre. P: This is true. I cannot speak for the US, where I merely sort of sell okay. But in the UK I think every book— I think I’ve done twenty in the series— since the fourth book, every one has been one the top ten national bestsellers, either as hardcover or paperback, and quite often as both. Twelve or thirteen have been number one. I’ve done six juveniles, all of those have nevertheless crossed over to the adult bestseller list. On one occasion I had the adult best seller, the paperback best-seller in a different title, and a third book on the juvenile bestseller list. Now tell me again that this is a ghettoized genre. O: It’s certainly regarded as less than serious fiction. P: (Sighs) Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that. (Pauses) That was a bloody good answer, though I say it myself.

I was trying to fill this gaping hole inside me with “stuff I couldn’t have when I was a little kid,” and I assumed that one day, when I had finally bought enough magazines and name- brand snack foods to feel caught up, the feeling would go away. But it hasn’t. And because I know the value of a dollar, when I get one, I want to buy the nicest thing I can with it. I’m still buying hardcover books and department-store mascara, still daydreaming about what I’m going to spend my 401(k) on when I withdraw that shit early,

And then he did move, because my hardcover copy of Breaking Dawn whacked him full in the face, with all my vampiric strength propelling it.

Thank God for old-fashioned hardcovers. The e-book reader she had at home wouldn’t have packed nearly the same punch.

Books have the same enemies as people: fire, humidity, animals, weather, and their own content.

When I had no money, and a great book came out, I couldn’t get it. I had to wait. I love the idea that I have hardcover books here and at home that I haven’t read yet. That’s how I view that I’m rich. I have hardcover books I may never read.

It's time for bed. And here's what I'm going to do. I'm going to get in bed, and I don't have anyone to sleep with now, so what I do is I sleep with my books. And I know that's kind of weird and solitary and pathetic. But if you think about it, it's very cozy. Over a period of four, five, six, seven, nine, twenty nights of sleeping, you've taken all these books to bed with you, and you fall asleep, and the books are there. *** Some of the books are thick, and some are thin, some of the books are in hardcover and some in paperback. Sometimes they get rolled up with the pillows and the blankets. And I never make the bed. So it's like a stew of books. The bed is the liquid medium. It's a Campbell's Chunky Soup of books. The bed you eat with a fork.

Books have the same enemies as people: fire, humidity, animals, weather, and their own content.   —Paul Valéry

Spend 80 percent of your time on books and 20 percent on articles and newspapers. And by books, I don’t mean just any book. I mean hardcovers. A paperback is made to be read. A hardcover is made to be studied. There’s a huge difference.

I emerge into a library-study with the highest book-population density I have seen in my life. Book walls, book towers, book avenues, book side-streets. Book spillages, book rubble. Paperback books, hardcover books, atlases, manuals, almanacs. Nine lifetimes of books. Enough books to build an igloo to hide in, and then to hide the igloo. The room is sentient with books. Mirrors double and cube the books. A Great Wall of China quantity of books. Enough books to make me wonder if I am a book too. Light

I can't do much, but I can do something, she thought, and if I can do even the smallest thing, then I am a powerful being.

La desaprobación de los cobardes es un elogio para los valientes.

Fifty Shades Trilogy is available in paperback, eBook, Spanish-language, and audio, and in deluxe hardcover editions featuring elegant silver-embossed jackets and bindings, red silk ribbon

Sell through multiple channels. Readers like plenty of choice when they go to purchase their books. Your book should be available in a variety of formats such as every type of Ebook paperback, hardcover and audiobook.

Byron clapped Walter on the back. 'Good work,' he said. Walter shook his head. 'You're the one who clocked her with the Stephen King hardcover. That took some of the wind out of her.' 'Thank heavens he's a wordy man,' said Byron.

Pick one,” he says just as I reach the handle. “One what?” He nods toward the shelves. I run my hands over my face in frustration. “You drive me insane.” I move toward the shelf and look over his collection. I pause when I see a few familiar titles. “You have a whole romance section.” I giggle and pull a book from the shelf. When I open it, a receipt falls to the floor. Inspecting it, I see he’s just bought ten books and spent a few hundred dollars opting for some pricy hardcovers over paperbacks. “You just bought these?” Upon closer inspection, I see most of them are romance titles by my favorite indies. There’s also a few suspense and an older historical, all of them titles from a familiar list that I wrote on a bookmark in my bedroom. When he was in my house, he had to have snooped in my room while Sean was distracting me. “You looked through my stuff?” He keeps his eyes on his book. It’s a stupid question. And the answer is so obvious, but I can’t help myself. “You bought these for me?” Silence. And again, I’m floating off the ground as he continues to read, feigning indifference. But I know differently now, and it changes everything. Beneath that mask is a man who’s been paying attention, very close attention to me. He turns another page and pulls an empty pillow closer to his shoulder. He wants me to read, with him, in his bed. And what better way to pass a day in stormy weather than curling up with a gorgeous man and getting lost in the words.

One of my greatest fears is family decline.There’s an old Chinese saying that “prosperity can never last for three generations.” I’ll bet that if someone with empirical skills conducted a longitudinal survey about intergenerational performance, they’d find a remarkably common pattern among Chinese immigrants fortunate enough to have come to the United States as graduate students or skilled workers over the last fifty years. The pattern would go something like this: • The immigrant generation (like my parents) is the hardest-working. Many will have started off in the United States almost penniless, but they will work nonstop until they become successful engineers, scientists, doctors, academics, or businesspeople. As parents, they will be extremely strict and rabidly thrifty. (“Don’t throw out those leftovers! Why are you using so much dishwasher liquid?You don’t need a beauty salon—I can cut your hair even nicer.”) They will invest in real estate. They will not drink much. Everything they do and earn will go toward their children’s education and future. • The next generation (mine), the first to be born in America, will typically be high-achieving. They will usually play the piano and/or violin.They will attend an Ivy League or Top Ten university. They will tend to be professionals—lawyers, doctors, bankers, television anchors—and surpass their parents in income, but that’s partly because they started off with more money and because their parents invested so much in them. They will be less frugal than their parents. They will enjoy cocktails. If they are female, they will often marry a white person. Whether male or female, they will not be as strict with their children as their parents were with them. • The next generation (Sophia and Lulu’s) is the one I spend nights lying awake worrying about. Because of the hard work of their parents and grandparents, this generation will be born into the great comforts of the upper middle class. Even as children they will own many hardcover books (an almost criminal luxury from the point of view of immigrant parents). They will have wealthy friends who get paid for B-pluses.They may or may not attend private schools, but in either case they will expect expensive, brand-name clothes. Finally and most problematically, they will feel that they have individual rights guaranteed by the U.S. Constitution and therefore be much more likely to disobey their parents and ignore career advice. In short, all factors point to this generation

In my white room, against my white walls, on my glistening white bookshelves, book spines provide the only color. The books are all brand-new hardcovers—no germy secondhand softcovers for me. They come to me from Outside, decontaminated and vacuum-sealed in plastic wrap. I

He moves a stack of hardcovers off the sofa, then crosses the room to take the chair behind the desk. His expression seems to tease, See? I’m perfectly harmless over here. Except nothing about him looks harmless to me. He looks like a Swiss Army knife. A man with six different means to undo me. This Charlie, for making you spill your secrets. This one for making you laugh. This one can turn you on. This is the one who will convince you you’re capable of anything. Here is the Charlie who will pull you into his lap to form your human barricade at a hospital. And the one with the power to take you apart brick by brick.

A brick could be used as a book cover. Talk about hardcover!


Our character isn't defined by the battles we win or lose, but by the battles we dare to fight.

I'm an open book, but I am still a hardcover.

Mockingjays are about as rare as rocks. And about as tough.

Technically, you cannot really own a book you bought; you can only own the sheets of paper your copy is printed on; unless, of course, you are the book’s publisher.

He ran his finger down the hardcover keyboard of book spines. Individual memories of each, particularly his first experience with every title, burned through him

You are not your circumstances, you are your possibilities

Stoicism is designed to be medicine for the soul.

Wear gloves when peeling a roasted beet unless you want more than a touch of the Lady Macbeths

I'd missed my entire junior year thanks to some business we won't get into (Hera) on account of some meddling gods (Hera) for reasons of a cosmic apocalypse (Hera).

I'm wondering how many times he can possibly use the word alliance in one sentence when Tiny Cooper cuts Mr. Fortson off by saying, "Hey, wait, Jane, you're straight?" And she nods without realign looking up and then mumbles, "I mean, I think so, anyway." "You should date Grayson," Tiny says. "He thinks you're super cute." If i were stand on a scale fully dressed, sopping wet, holding ten-pound dumbbells in each hand and balancing a stack of hardcover books on my head, I'd weigh about 180 pounds, which is approximately equal to the weight of Tiny Cooper's left tricep. But in this moment, I could beat the holy living shit out of Tiny Cooper. And I would, I swear to God, except I'm too busy trying to disappear.

OUTLANDER A Delta Book PUBLISHING HISTORY Delacorte Press hardcover edition published 1991 Delta trade paperback edition/July 2001 Published by Bantam Dell A Division of Random House, Inc.

It was filled with books. That was the first thing I noticed when I went in—how many books there were. Three of the four walls were lined with shelves from the floor to the ceiling, and every inch of those shelves was crammed with books. There were further clusters and piles of them on chairs and tables, on the rug, on the desk. Hardcovers and paperbacks, new books and old books

The hardcover book was an academic monograph from a Midwestern university about the Battle of Kursk. Kursk happened in July of 1943. It was Nazi Germany’s last grand offensive of World War Two and its first major defeat on an open battlefield. It turned into the greatest tank battle the world has ever seen, and ever will see, unless people like Kramer himself are eventually turned loose.

Despite the rising popularity of the downloadable e-text, I still care about physical books, gravitate to handsome editions and pretty dust jackets, and enjoy seeing rows of hardcovers on my shelves. Many people simply read fiction for pleasure and nonfiction for information. I often do myself. But I also think of some books as my friends and I like to have them around. They brighten my life.

You know for sure Jane would be annoyed she gave you all her money and you’re not even enjoying it. Should have given it to me.’ Myrna had shaken her head in mock bewilderment. ‘I’d have known what to do with it. Boom, down to Jamaica, a nice Rasta man, a good book—’ ‘Wait a minute. You have a Rasta man and you’re reading a book?’ ‘Oh, yes. Each has a purpose. For instance, a Rasta man is great when he’s hard, but not a book.’ Clara had laughed. They shared a disdain for hard books. Not the content, but the cover. Hardcovers were simply too hard to hold, especially in bed. ‘Unlike a Rasta man,’ said Myrna.

Museum architectural search committees have invariably included the Kimbell in their international scouting tours of exemplary art galleries (a practice pioneered by Velma Kimbell, the founder’s widow, in 1964). Those groups no doubt respond to the Kimbell with suitable reverence, but given the buildings they later commissioned, many post-Bilbao museum patrons obviously wanted something quite different. The disparity between Kahn’s museums and recent examples of that genre parallels the discrepancy he saw between postwar Modernism and ancient Classicism: “Our stuff looks tinny compared to it.” At a time when commercial values are systematically corrupting the museum - one of civilized society’s most elevating experiences - the example of Kahn, among the most courageous and successful architectural reformers of all time, seems more relevant and cautionary than ever.

Here,” he said. “I brought this for you.” It was a small hardcover edition of an eighteenth century book called The Path of the Just with a note he had written for me inscribed on the title page. It quoted the Talmud: Whoever destroys a single life is as guilty as though he had destroyed the entire world; and whoever rescues a single life earns as much merit as though he had rescued the entire world. So he was trying to save me. Why? I was having fun.

Books can change minds and change worlds, open doors and open minds, and plant seeds that can grow into magical or even terrifying things. Stories are things to be loved and respected at the same time; never underestimate the power of them.

Strategy is scarcity’s child and to have a strategy, rather than vague aspirations, is to choose one path and eschew others. There is difficult psychological, political, and organizational work in saying “no” to whole worlds of hopes, dreams, and aspirations.

Using the first-person singular pronoun is another great way to set a boundary without escalating into confrontation. When you say, “I’m sorry, that doesn’t work for me,” the word “I” strategically focuses your counterpart’s attention onto you long enough for you to make a point.

They're going to burn this complete collection of MacDonald's children's book There's a new translation out in paperback but I've always dreamed of eating the entire twelve-volume set in hardcover I refuse to watch something so delicious get turned to charcoal right in front of me

Growing up, I always had a journal – whether it was a marble composition book or a pretty hardcover journal—I reached out to it and wrote through the tears, anger, hurt feelings, and the bewilderment of life. The journal became my Dear Abby, Dr. Joyce Brothers, and on occasion my Dr. Ruth(Ah, the curiosity of sexuality).

But what is power? she wondered. Was it the weapons and tools to act, or the ability to think? Was it talking to someone, or doing something? If you have only a small amount of power, and you're able to do only the tiniest, most insignificant things, does that mean you're powerless? Or with that tiny power, do you have all the power in the world?

Although he could barely hold the weight of a hardback book, he couldn't abide paperbacks. Only a hardcover felt protective enough for the valuable words inside keeping them safe from harm. Now that he felt so unprotected himself, with Time and Death gnawing at his every extremity, he wanted security at least for the words that acted as his companion for this brief time.

What’s your favorite book?” Doubt colors my voice. “If you have a favorite, I don’t trust you. Any book lover has at least five they can name off the top of their head.” His blue eyes hold mine. Oh, wow. This guy actually likes reading. He grins when I roll my eyes with little effort, not putting much sass behind it. “All right. Name your top author then since you’re such a scholar.” My voice rasps. I imagine him in bed, blonde hair ruffled while he rocks reading glasses and a thick paperback because he’d rather be practical than carry a heavy hardcover. Sigh. Damn him and his nerdy secret. “Brandon Sanderson. No questions asked.” His voice drops. “A man who prefers to live in a fantasy. How cute.” “I’d be your best fantasy, no book needed.

Book lovers have strong feelings about bookish scents; some of us get poetic about the distinctive smell of freshly inked paper, or old cloth-covered hardcovers, or a used bookstore. I’ve never cared for the smell of used bookstores myself, but as a devoted reader, I’ve noticed how the books themselves serve as portals to my past, conjuring similarly powerful memories. There’s

Copyright © 2021 by Dave Eggers All rights reserved. Published in the United States by Vintage Books, a division of Penguin Random House LLC, New York. Originally published in hardcover in the United States by McSweeney’s, San Francisco, in 2021. Vintage and colophon are registered trademarks of Penguin Random House LLC. This is a work of fiction. Nothing described herein actually happened, though much of it likely will. At that point, this will be a work of nonfiction.

All he had ever wanted was to tell—in the best possible words, arranged in the best possible order—the stories inside him. He had been more than willing to do the apprenticeship and the work. He had been humble with his teachers and respectful of his peers. He had acceded to the editorial notes of his agent (when he’d had one) and bowed to the red pencil of his editor (when he’d had one) without complaint. He had supported the other writers he’d known and admired (even the ones he hadn’t particularly admired) by attending their readings and actually purchasing their books (in hardcover! at independent bookstores!) and he had acquitted himself as the best teacher, mentor, cheerleader, and editor that he’d known how to be, despite the (to be frank) utter hopelessness of most of the writing he was given to work with. And where had he arrived, for all of that? He was a deck attendant on the Titanic, moving the chairs around with fifteen ungifted prose writers while somehow persuading them that additional work would help them improve.

Sensing can feel passive, as if eyes and other sense organs were just intake valves through which animals absorb and receive the stimuli around them. But over time, the simple act of seeing recolors the world. Guided by evolution, eyes are living paintbrushes. Flowers, frogs, fish, feathers and fruit all show that sight affects what is seen and that much of what we find beautiful in nature has been shaped by the vision of our fellow animals. Beauty is not only in the eye of the beholder, it arises because of that eye.

This is a book unlike any other on Barack Obama. It is not the typical effusive book of apostolic praise, but neither is it a crude bashing of Obama. Rather, it is an effort to understand Obama, to discover what motivates him, and to formulate a theory that explains his actions in the White House. It offers a completely original theory for what drives Obama, and yet remarkably the theory is derived from Obama’s own autobiography and Obama’s own self-description. If you read this book, it will not only help you to understand Obama, it will also help you to predict what he is going to do next. I make three specific predictions in the last chapter, and in the twelve months following the book’s original hardcover publication, all three have already come to pass.

Books are an absolute necessity. I always have at least two with me wherever I go, to say nothing of my digital collection, and whenever I can get my hands on a delicious new reading piece, I will finish it at a slackened pace, to savour it with all the esteem it deserves, gratulating in its pleasance, deliciating in every word with ardent affection. I have an extensive library that I could never do without, and there are at least four books decorating every surface in my house. A table is not properly set without a book to furnish it. Half of my great collection is non-fiction, mostly science and history books, ranging from the archaeological to the agricultural, and my fiction section is dedicated to the classics, mostly books published before the world forgot about exquisite prose. I have all the greats in hardcover, but I do not read those: hardcover is for smelling and touching only. For all my favourite authors, I have reading copies, which I might take with me anywhere, to read in cafes or to be used as a swatting tool for unwanted visitors, but books are always fashionable even as ornaments; everyone likes a reader, for a good collection of books betrays a intellectualism that is becoming at anytime. Never succumb to the friable wills of those who reject the majesty of books: there is nothing so repelling as willful illiteracy.

Leonard H. Stringfield 1)Retrievals of the Third Kind: A Case Study of Alleged UFOs and Occupants in Military Custody. The first formal research paper presented publicly on the subject of UFO crash/retrievals at the MUFON Symposium, Dayton, Ohio, July, 1978. Original edition, dated April, 1978, was published in MUFON Proceedings (1978). Address: MUFON, 103 Oldtowne Road, Seguin, Texas 78155. If available, price___________. 2)Retrievals of the Third Kind: A Case Study of Alleged UFOs and Occupants in Military Custody,Status Report I. Revised edition, July, 1978, word processed copy, 34 pages. Available at author's address. See below. Price, USA___________. 3)UFO Crash/Retrieval Syndrome, Status Report II. Published by MUFON. Flexible cover, typeset, illustrations, 37 pages. Available only at MUFON address: 103 Oldtowne Road, Seguin, Texas 78155. Price, USA___________. 4)UFO Crash/Retrievals: Amassing the Evidence, Status Report III, June 1982; flexible cover, typeset, illustrations, 53 pages. Available from author's address. See below. Price, USA___________. 5)The Fatal Encounter at Ft. Dix -- McGuire: A Case Study, Status Report IV, June, 1985. Paper presented at MUFON Symposium, St. Louis, Missouri, 1985. Xeroxed copy, 26 pages. Available at author's address. See below. Price, USA___________. 6)UFO Crash/Retrievals: Is the Coverup Lid Lifting? Status Report V. Published in MUFON UFO Journal, January, 1989, with updated addendum. Xeroxed copy, 23 pages. Available at author's address. See below. Price, USA___________. 7)Inside Saucer Post, 3-0 Blue. Book privately published, 1957. Review of author's early research and cooperative association with the Air Defense Command Filter Center, using code name, FOX TROT KILO 3-0 BLUE. Flexible cover, typeset, illustrations, 94 pages. Available from author's address. See below. Price, USA___________. 8)Situation Red: The UFO Siege. Hardcover book published by Doubleday & Co., 1977. Paperback edition published by Fawcett Crest Books, 1977. Also foreign publishers. Out of print, not available. 9)Orbit Newsletter, published monthly, 1954-1957, by author for international sale and distribution. Set of 36 issues. Some issues out of stock, duplicated by xerox. Available at author's address -- see below. Price of set, USA___________. 10)UFO Crash/Retrievals: The Inner Sanctum, Status Report VI, July, 1991; flexible cover, book length, 81.000 words, 142 (8-1/2 X 11) pages, illustrated. Privately published. Available from author's address. See below. Price, USA___________. Prices include postage and handling. Mailings to Canada, add 500 for each item ordered. All foreign orders, payable U.S. funds, International money order or draft on U.S. Bank. Recommend Air Mail outside U.S. territories. Check on price. Leonard H. Stringfield 4412 Grove Avenue Cincinnati, Ohio 45227 USA Telephone: (513) 271-4248

He called back with an incredible report: there were people lined up around the store already. Wow, I thought. Wow! Wow didn’t begin to cover it. People lined up on two floors of the store to talk to Chris and get their books signed, hours before he was even scheduled to arrive. Chris was overwhelmed when he got there, and so was I. The week before, he’d been just another guy walking down the street. Now, all of a sudden he was famous. Except he was still the same Chris Kyle, humble and a bit abashed, ready to shake hands and pose for a picture, and always, at heart, a good ol’ boy. “I’m so nervous,” confided one of the people on the line as he approached Chris. “I’ve been waiting for three hours just to see you.” “Oh, I’m sorry,” said Chris. “Waitin’ all that time and come to find out there’s just another redneck up here.” The man laughed, and so did Chris. It was something he’d repeat, in different variations, countless times that night and over the coming weeks. We stayed for three or four hours that first night, far beyond what had been advertised, with Chris signing each book, shaking each hand, and genuinely grateful for each person who came. For their part, they were anxious not just to meet him but to thank him for his service to our country-and by extension, the service of every military member whom they couldn’t personally thank. From the moment the book was published, Chris became the son, the brother, the nephew, the cousin, the kid down the street whom they couldn’t personally thank. In a way, his outstanding military record was beside the point-he was a living, breathing patriot who had done his duty and come home safe to his wife and kids. Thanking him was people’s way of thanking everyone in uniform. And, of course, the book was an interesting read. It quickly became a commercial success beyond anyone’s wildest dreams, including the publisher’s. The hardcover debuted at number two on the New York Times bestseller list, then rose to number one and stayed there for more than two months. It’s remained a fixture on the bestseller lists ever since, and has been translated into twenty-four languages worldwide. It was a good read, and it had a profound effect on a lot of people. A lot of the people who bought it weren’t big book readers, but they ended up engrossed. A friend of ours told us that he’d started reading the book one night while he was taking a bath with his wife. She left, went to bed, and fell asleep. She woke up at three or four and went into the bathroom. Her husband was still there, in the cold water, reading. The funny thing is, Chris still could not have cared less about all the sales. He’d done his assignment, turned it in, and got his grade. Done deal.

Like my Kindle paper-white but no substitute for a hardcover book. JKA

It was spring, not winter or autumn, Paul thought with some lingering confusion. He listened to the layered murmur of wind against leaves, familiarly and gently disorienting as a terrestrial sound track, reminding people of their own lives, then opened his MacBook—sideways, like a hardcover book—and looked at the internet, lying on his side, with his right ear pressed into his pillow, as if, unable to return to sleep, at least in position to hear what, in his absence, might be happening there.

Employees remember that when the home and kitchen category was introduced in the fall of 1999, kitchen knives would fly down the conveyor chutes, free of protective packaging. Amazon’s internal logistics software didn’t properly account for new categories, so the computers would ask workers whether a new toy entering the warehouse was a hardcover or a paperback book.

Πάντα να λες τα πράγματα με τ' όνομά τους, γιατί αν δεν τολμάς να προφέρεις κάτι με τ' όνομά του, ο φόβος σου γι' αυτό μεγαλώνει!

I’d like our therapy to be penicillin. And I know that it’s insulin.

All rights reserved. Published in the United States by Ember, an imprint of Random House Children’s Books, a division of Random House LLC, a Penguin Random House Company, New York. Originally published in hardcover in the United States by Alfred A. Knopf, an imprint of Random House Children’s Books, New York, in 1993. Ember and the E colophon are registered trademarks of Random House LLC. Visit us on the Web! randomhouse​teens.​com Educators and librarians, for a variety of teaching tools, visit us at RHTeachers​Librarians.​com The Library of Congress has cataloged the hardcover edition of this work as follows: Isaacson, Philip M., 1924–2013 A short walk around the Pyramids & through the world of art. by Philip

I was so ready for Feyre to kick some serious ass. I slapped the hardcover shut and pressed my forehead against the smooth cover. My heart pounded in my chest. The last five chapters had been a nonstop heart attack, and I prayed that the third book was already out. If not, I was going to pitch myself off the balcony.

I still care about physical books, gravitate to handsome editions and pretty dust jackets, and enjoy seeing rows of hardcovers on my shelves. Many people simply read fiction for pleasure and nonfiction for information. I often do myself. But I also think of some books as my friends and I like to have them around. They brighten my life.

She remembered how it felt when her soul was split from the rest of her, when she was but a lost spirit wandering the living world, but never truly touching it, never truly feeling it or engaging with it.

I define vulnerability as uncertainty, risk, and emotional exposure. With that definition in mind, let's think about love. Waking up every day and loving someone who may or may not love us back, whose safety we can't ensure, who may stay in our lives or may leave without a moment's notice, who may be loyal to the day we die or betray us tomorrow - that's vulnerability. Love is uncertain. it's incredibly risky. And loving someone leaves us emotionally exposed. Yes, it's scary and yes, we're open to being hurt, but can you imagine your life without loving or being loved?

A couple of weeks before, while going over a Variety list of the most popular songs of 1935 and earlier, to use for the picture’s sound track – which was going to consist only of vintage recording played not as score but as source music – my eye stopped on a .933 standard, words by E.Y. (“Yip”) Harburg (with producer Billy Rose), music by Harold Arlen, the team responsible for “Over the Rainbow”, among many notable others, together and separately. Legend had it that the fabulous Ms. Dorothy Parker contributed a couple of lines. There were just two words that popped out at me from the title of the Arlen-Harburg song, “It’s Only a Paper Moon”. Not only did the sentiment of the song encapsulate metaphorically the main relationship in our story – Say, it’s only a paper moon Sailing over a cardboard sea But it wouldn’t be make-believe If you believed in me – the last two words of the title also seemed to me a damn good movie title. Alvin and Polly agreed, but when I tried to take it to Frank Yablans, he wasn’t at all impressed and asked me what it meant. I tried to explain. He said that he didn’t “want us to have our first argument,” so why didn’t we table this conversation until the movie was finished? Peter Bart called after a while to remind me that, after all, the title Addie Pray was associated with a bestselling novel. I asked how many copies it had sold in hardcover. Peter said over a hundred thousand. That was a lot of books but not a lot of moviegoers. I made that point a bit sarcastically and Peter laughed dryly. The next day I called Orson Welles in Rome, where he was editing a film. It was a bad connection so we had to speak slowly and yell: “Orson! What do you think of this title?!” I paused a beat or two, then said very clearly, slowly and with no particular emphasis or inflection: “Paper …Moon!” There was a silence for several moments, and then Orson said, loudly, “That title is so good, you don’t even need to make the picture! Just release the title! Armed with that reaction, I called Alvin and said, “You remember those cardboard crescent moons they have at amusement parks – you sit in the moon and have a picture taken?” (Polly had an antique photo of her parents in one of them.) We already had an amusement park sequence in the script so, I continued to Alvin, “Let’s add a scene with one of those moons, then we can call the damn picture Paper Moon!” And this led eventually to a part of the ending, in which we used the photo Addie had taken of herself as a parting gift to Moze – alone in the moon because he was too busy with Trixie to sit with his daughter – that she leaves on the truck seat when he drops her off at her aunt’s house. … After the huge popular success of the picture – four Oscar nominations (for Tatum, Madeline Kahn, the script, the sound) and Tatum won Best Supporting Actress (though she was the lead) – the studio proposed that we do a sequel, using the second half of the novel, keeping Tatum and casting Mae West as the old lady; they suggested we call the new film Harvest Moon. I declined. Later, a television series was proposed, and although I didn’t want to be involved (Alvin Sargent became story editor), I agreed to approve the final casting, which ended up being Jodie Foster and Chris Connolly, both also blondes. When Frank Yablans double-checked about my involvement, I passed again, saying I didn’t think the show would work in color – too cute – and suggested they title the series The Adventures of Addie Pray. But Frank said, “Are you kidding!? We’re calling it Paper Moon - that’s a million-dollar title!” The series ran thirteen episodes.

... It strikes me that if I'm in such a febrile and imaginative mood I ought to take advantage of it with some serious writing exercises or at least a few ideas for stories, if only to demonstrate that I'm not treating this here commonplace book solely as a journal to record my most recent attacks of jitters! Maybe I should roll my sleeves up and attempt as least an opening practice paragraph or two of this confounded novel I'm pretending to be writing. Let's see how it looks. Marblehead: An American Undertow By Robert D. Black Iron green, the grand machinery of the Atlantic grates foam gears against New England with the rhythmic thunder of industrial percussion. A fine dust of other lands and foreign histories is carried in suspension on its lurching, slopping mechanism: shards of bright green glass from Ireland scoured blunt and opaque by brine, or sodden splinters of armada out of Spain. The debris of an older world, a driftwood of ideas and people often changed beyond all recognition by their passage, clatters on the tideline pebbles to deposit unintelligible grudges, madnesses and visions in a rank high-water mark, a silt of fetid dreams that further decompose amid the stranded kelp or bladder-wrack and pose risk of infection. Puritans escaping England's murderous civil war cast broad-brimmed shadows onto rocks where centuries of moss obscured the primitive horned figures etched by vanished tribes, and after them came the displaced political idealists of many nations, the religious outcasts, cults and criminals, to cling with grim determination to a damp and verdant landscape until crushed by drink or the insufferable weight of their accumulated expectations. Royalist cavaliers that fled from Cromwell's savage interregnum and then, where their puritanical opponents settled the green territories to the east, elected instead to establish themselves deep in a more temperate South, bestowing their equestrian concerns, their courtly mannerisms and their hairstyles upon an adopted homeland. Heretics and conjurors who sought new climes past the long shadow of the stake; transported killers and procurers with their slates wiped clean in pastures where nobody knew them; sour-faced visionaries clutching Bunyan's chapbook to their bosoms as a newer and more speculative bible, come to these shores searching for a literal New Jerusalem and finding only different wilderness in which to lose themselves and different game or adversaries for the killing. All of these and more, bearing concealed agendas and a hundred diverse afterlives, crashed as a human surf of Plymouth Rock to fling their mortal spray across the unsuspecting country, individuals incendiary in the having lost their ancestral homelands they were without further longings to relinquish. Their remains, ancient and sinister, impregnate and inform the factory-whistle furrows of oblivious America.

... It strikes me that if I'm in such a febrile and imaginative mood I ought to take advantage of it with some serious writing exercises or at least a few ideas for stories, if only to demonstrate that I'm not treating this here commonplace book solely as a journal to record my most recent attacks of jitters! Maybe I should roll my sleeves up and attempt as least an opening practice paragraph or two of this confounded novel I'm pretending to be writing. Let's see how it looks. Marblehead: An American Undertow By Robert D. Black Iron green, the grand machinery of the Atlantic grates foam gears against New England with the rhythmic thunder of industrial percussion. A fine dust of other lands and foreign histories is carried in suspension on its lurching, slopping mechanism: shards of bright green glass from Ireland scoured blunt and opaque by brine, or sodden splinters of armada out of Spain. The debris of an older world, a driftwood of ideas and people often changed beyond all recognition by their passage, clatters on the tideline pebbles to deposit unintelligible grudges, madnesses and visions in a rank high-water mark, a silt of fetid dreams that further decompose amid the stranded kelp or bladder-wrack and pose risk of infection. Puritans escaping England's murderous civil war cast broad-brimmed shadows onto rocks where centuries of moss obscured the primitive horned figures etched by vanished tribes, and after them came the displaced political idealists of many nations, the religious outcasts, cults and criminals, to cling with grim determination to a damp and verdant landscape until crushed by drink or the insufferable weight of their accumulated expectations. Royalist cavaliers that fled from Cromwell's savage interregnum and then, where their puritanical opponents settled the green territories to the east, elected instead to establish themselves deep in a more temperate South, bestowing their equestrian concerns, their courtly mannerisms and their hairstyles upon an adopted homeland. Heretics and conjurors who sought new climes past the long shadow of the stake; transported killers and procurers with their slates wiped clean in pastures where nobody knew them; sour-faced visionaries clutching Bunyan's chapbook to their bosoms as a newer and more speculative bible, come to these shores searching for a literal New Jerusalem and finding only different wilderness in which to lose themselves and different game or adversaries for the killing. All of these and more, bearing concealed agendas and a hundred diverse afterlives, crashed as a human surf on Plymouth Rock to fling their mortal spray across the unsuspecting country, individuals incendiary in that having lost their ancestral homelands they were without further longings to relinquish. Their remains, ancient and sinister, impregnate and inform the factory-whistle furrows of oblivious America.

Returning briefly to my novel and my sense that Jonathan might not survive its ending, I'm reminded of some thoughts I had regarding Howard's masterly story "Dagon". At the story's end we find its by-now crazed narrator cowering in his rented San Francisco room and planning an impending suicide that will deliver him from the appalling world of madness and delusion into which his maritime experience has plunged him. On first reading, I perhaps thought this a touch over-dramatic and sensational, although upon turning it over in my mind I realise that it's a wonderful counter-example of the problems I have previously noted in Bram Stoker's Dracula. Whereas in Stoker's book the final affirmation of conventionality and human values tends to undermine the very horror Stoker has so masterfully achieved in the preceding pages, Lovecraft's tale shows a reaction to the supernatural or super-normal (something which is by its very nature utterly incomprehensible) that is a lot more credible in terms of our human psychology: when faced with something which we know should not exist and for which we have neither name nor concept, we do not concoct an ingenious opposing strategy nor rally our defences. Rather, we go mad and kill ourselves. Although this is a bleak and pessimistic ending to a tale, it seems to me that in the realm of alien literary horrors that we are discussing, it is a far more believable and honest one. I somehow don't believe that the adventure mode of storytelling with its reassuring strictures and conventions (fearless heroes ultimately triumphing against some poorly-motivated adversary or other unlikely hazard) is appropriate to the variety of strange tale that I wish to tell.

The truth was a heavy thing

Papa organized his books neither alphabetically nor by theme, nor by author nor genre, but by their size and color. The books had to look lovely lined up on the shelves, and he collected them avidly, he bought cases of them wholesale, because they went well together, because they harmonized elegantly, like the entirety of the Soleil collection, those gorgeous hardcover volumes bound in solid-colored canvas, and about which Gallimard, in their promotional leaflet, says: as the sun is the pride of the planets, the books in this collection, all in octavo format, will be the pride of your home library.

You can't buy happiness but you can buy cake which is almost the same thing.

Someone has to feed you, old man.” Her father held up a hardcover book. “I feast on words, son. They alone sustain me.

Уздовж рівненько підстрижених живоплотів Привіт-драйв промчав вітерець, і вуличка чемно й тихенько лежала під чорним небом, нітрохи не скидаючись на місце, де могло б статися щось дивне. Розділ перший. Хлопчик, що вижив

Let's start at the beginning: the first step of the unmasking process is realizing you're Autistic. It might not feel like it's an active step toward self-acceptance or authenticity, but coming to understand yourself as disabled is a pretty dramatic reframing of your life. Almost every neuro-diverse person I've spoken to for this book shared that discovering they were Autistic was a powerful aha moment, one that prompted them to rethink every narrative they'd believed about who they were. Painful labels they'd carried around inside themselves for years suddenly didn't seem as relevant: it wasn't that they were stupid, or clueless, or lazy, they were just disabled. It wasn't that their effort had never been enough, or that they were fundamentally wrong or bad. They simply hadn't been treated with the compassion they deserved, or given the tools that would have allowed them to flourish. Naming their position in society as a disabled person helped them to externalize that which had long been internalized. It proved that none of their suffering had been their fault.

8 out of 10 books I've read in the last 10 years were hardcovers. They look better on the shelf, you don't loan them out as much and you feel proud carrying it around.

You shouldn't fear failure. It's not something that we relish - no one wants to fail - but it may be something that we have to endure in order to improve and succeed.

If pursuing the positive is a negative, then pursuing the negative generates the positive.

He thumbed through the hardcover book. “This is one of the excellent Prentice-Hall volumes, Self-Hypnotism, by Leslie M. LeCron. See the bottom of page eighty-two. This other one is The Intimate Casebook of a Hypnotist by Arthur Ellen with Dean Jennings, a Signet Mystic Book published by the New American Library. I direct your attention, Sheldon, to … wait’ll I find it … pages fifty-four and fifty-five.

She lay with the book facedown and open across her chest as the sounds of the storm crossed over the boundaries of sleep and colonized her dreams. Swords flashed on the foredeck of a frigate lashed with rain under a bruised sky. The keening of wind twinned in her slumber, and Viv voyaged through seas unknown.

When he'd told me to remember being human, he'd meant building on pain and tragedy, overcoming it, learning from it. That was something gods never did. We just complained. To be human is to move forward, to adapt, to believe in your ability to make things better. That is the only way to make the pain and sacrifice mean something.

Una’s book was The Worm and the Ring by Anthony Burgess, who Susan only knew for Clockwork Orange; Zoë, who was in her wheelchair at the head of the table, had a large old-looking volume called Book Repair and Restoration by Mitchell S. Buck propped up in front of her; Clement’s book Susan couldn’t identify as it was open flat on the table, but he was looking at a photo section in the middle of it, black-and-white photographs of castles or of one particular castle; Vivien was reading Red Moon and Black Mountain by Joy Chant, a hardcover with a very simple but fabulous blue-and-red dust jacket. It had to be the American first edition as Susan didn’t know it, and she immediately coveted it. Evangeline, who was closest to the door, had laid her book down faceup so Susan could easily read its title, Origins of the English Parliament by Peter Spufford;

The idea of not giving a f*ck is a simple way of reorientating our expactations for life and choosing what is important and what is not.

Crucially, this exercise is not about all the problems we face and the pleasant or painful emotions we encounter each day. It is about the meaning we find in both the toughest and easiest days. It does not ask us to wait until everything is fine before we start living as the kind of person we want to be. It gets us thinking about how we can consciously choose to live by our values, whatever is going on around us.

We are often sold the idea that happiness is the norm and anything outside of that could be a mental health problem.

It's all just a bunch of hocus pocus!

. Then I found myself toying with pomposities like The Time of the Hero, but my feeling is, if the title is too boring to read all the way through, it might keep readers from trying the novel. So Kahawa it is. The original publisher of Kahawa, in 1982, was in the midst of an upheaval. My original editor was let go before publication, to be replaced with an oil painting of an editor; pleasant, even comforting to look at, but not much help in the trenches. The publisher moved by fits and starts—more fits than starts, actually—and though the book received good reviews, no one at the publishing house seemed able to figure out how to suggest that anybody might enjoy reading it. So it didn’t do well. My current publisher is not suffering upheavals, my current editor is lively and professional, and when it was suggested that Kahawa might be given a second chance of life, I was both astonished and very pleased. I’ve made minor changes in the text, nothing substantive, and agreed to write this introduction, and here we are, by golly, airborne again. By coincidence, I ran into that oil painting at a party a few months ago. He said, “Are you writing any more African adventure novels?” “No,” I said, “but Warner is going to put out Kahawa again, in hardcover.” His jaw dropped. “Why?” he asked. (This is what we have to put up with, sometimes.) “I think they like it,” I said. I hope you do, too.

Science Fiction. I have sold thirteen stories, two of which have not yet been published and none of which are any damn good. I have sold to Universe, Original, Future, Super, Analog, Amazing, If, and Galaxy. A fourteenth story was sold to Fantastic Universe, which proceeded to drop dead before they could publish it. Both John Campbell and Cele Goldsmith have asked me to write sequels to novelettes of mine they had bought (I haven’t written either, and won’t). In a desk drawer I have twenty-odd thousand words of a science fiction novel, which is good, but which I’m not going to finish because it isn’t worth my while. Avalon pays three hundred and fifty dollars for a book, and I wouldn’t support such piracy either by writing for them or buying their wares. John Campbell isn’t the hero, so it can’t be serialized in Analog. If finished, it would run a lot longer than forty-five thousand words, so that leaves out Ace. There’s no gratuitous sex, so that excludes Galaxy/Beacon (or would if they were still being published). It isn’t a silly satire about a world controlled by advertising agencies or insurance companies or the A&P, so it can’t be serialized in Galaxy Magazine. It’s in sensible English, so Amazing is out. It isn’t about the horrors of Atomic War, so no mainstream hardcover house would look twice at it. I’d like to write it anyway for my own amusement (you know, like a real writer-type), but unpublished manuscripts unfortunately have a low enjoyment quota, at least for me. So the hell with it.

I look up at the ceiling, at all the hardcover fiction. So very few people want it. It is operating as insulation rather than stock. The argument rages on about whether it is better to have books or ebooks, but while everyone gets heated about the choices, the hardcover fiction molders quietly away.

While they waited for the tram, Alexander said, “I brought you something.” He handed her a package wrapped in brown paper. “I know Monday was your birthday. But I didn’t have a chance before today…” “What is it?” Sincerely surprised, she took the package from him. A small lump came up in her throat. Lowering his voice, he said, “In America we have a custom. When you’re given presents for your birthday, you’re supposed to open them and say thank you.” Tatiana nervously looked down at the present. “Thank you.” Gifts were not something she was used to. Wrapped gifts? Unheard of, even when they came wrapped only in plain brown paper. “No. Open first. Then say thank you.” She smiled. “What do I do? Do I take the paper off?” “Yes. You tear it off.” “And then what?” “And then you throw it away.” “The whole present or just the paper?” Slowly he said, “Just the paper.” “But you wrapped it so nicely. Why would I throw it away?” “It’s just paper.” “If it’s just paper, why did you wrap it?” “Will you please open my present?” said Alexander. Eagerly Tatiana tore open the paper. Inside were three books—one hefty hardcover collection by Aleksandr Pushkin called The Bronze Horseman and Other Poems, and two smaller books, one by a man she’d never heard of, named John Stuart Mill; the book was called On Liberty. It was in English. The last one was an English-Russian dictionary. “English-Russian?” Tatiana said, smiling. “It’s less helpful than you might think. I speak no English. Was this yours from when you came here?” “Yes,” he said. “And without it you won’t be able to read Mill.” “Thank you so much for all of them,” she said. “The Bronze Horseman book was my mother’s,” said Alexander. “She gave it to me a few weeks before they came for her.

more thrilled to see its publication. In my twenty-six years of publishing, it’s my first major hardcover release and brings me full circle to work with Lou Aronica, whom I first had the pleasure of working with while at Avon Books. It’s also my very first non-genre novel, although you will find it a signature Tanya Anne Crosby read, filled with flawed characters, and brimming with emotion. Set in Sullivan’s Island, South Carolina, this book takes me home and is both deeply personal and intensely satisfying, in terms of pushing the storytelling envelope. In a sense, I’ve opened a vein with Zoe’s story.

in the grave / Dana Stabenow.—1st ed.            p. cm.     ISBN 978-0-312-55913-7 (hardcover)     ISBN 978-1-4299-5038-1 (e-book)   1.  Shugak, Kate (Fictitious character)—Fiction.   2.  Women private investigators—Alaska—Fiction.   3.  Murder—Investigation—Fiction.   4.  Alaska—Fiction.   I.  Title.     PS3569.T1249R47 2012     813'.54—dc23 2011037662

Who Stayed is also a book of the heart and I couldn’t be more thrilled to see its publication. In my twenty-six years of publishing, it’s my first major hardcover release and brings me full circle to work with Lou Aronica, whom I first had the pleasure of working with while at Avon Books. It’s also my very first non-genre novel, although you will find it a signature Tanya Anne Crosby read, filled with flawed characters, and brimming with emotion. Set in Sullivan’s Island, South Carolina, this book takes me home and is both deeply personal

The Girl Who Stayed is also a book of the heart and I couldn’t be more thrilled to see its publication. In my twenty-six years of publishing, it’s my first major hardcover release and brings me full circle to work with Lou Aronica, whom I first had the pleasure of working with while at Avon Books. It’s also my very first non-genre novel, although you will find it a signature Tanya Anne Crosby read, filled with flawed characters, and brimming with emotion. Set in Sullivan’s Island, South Carolina, this book takes me home and is both deeply personal and intensely satisfying, in terms of pushing the storytelling envelope. In a sense, I’ve opened a vein with Zoe’s

Stayed is also a book of the heart and I couldn’t be more thrilled to see its publication. In my twenty-six years of publishing, it’s my first major hardcover release and brings me full circle to work with Lou Aronica, whom I first had the pleasure of working with while at Avon Books. It’s also my very first non-genre