Notebook Book Quotes

My library is an archive of longings.

Ah, how good it is to be among people who are reading.

My books are water; those of the great geniuses is wine. Everybody drinks water.

You may want to keep a commonplace book which is a notebook where you can copy parts of books you think are in code, or take notes on a series of events you may have observed that are suspicious, unfortunate, or very dull. Keep your commonplace book in a safe place, such as underneath your bed, or at a nearby dairy.

A critic can only review the book he has read, not the one which the writer wrote.

For obvious reasons, I never told you about my notebook, with a cover as green as mansions long ago, which I use as a commonplace book, a phrase which here means 'place where I have collected passages from some of the most important books I have read.

16 Things Romance Readers Are Tired Of Hearin 1. All Romance books are exactly the same. 2. The endings are so predictable. 3. You know romance doesn't happen like that in real life. 4. You're setting unrealistic expectations for yourself about love. 5. Real men don't have abs like that. 6.So you think you're going to go on a lot of dates? 7. So you think you're going to fall in love with an ex-boyfriend? 8. ...or a billionaire? 9. ...or a duke? 10. So you'll stop reading romances when you have a boyfriend, right? 11. It's basically mommy porn, right? 12. I could write a romance book. 13. Do you only read female authors? 14. I saw the Notebook once. 15. Is Danielle Steel your favorite author? 16. Do you read REAL books?

When I am grown up I shall carry a notebook—a fat book with many pages, methodically lettered. I shall enter my phrases.

There are a large number of people in the room, but one is unaware of them. They are in the books. At times they move among the pages, like sleepers turning over between two dreams. Ah, how good it is to be among people who are reading.

In a field, I am the absence of field. In a crowd, I am the absence of crowd. In a dream, I am the absence of dream. But I don't want to live as an absence. I move to keep things whole. Because sometimes I feel drunk on positivity. Sometimes I feel amazement at the tangle of words and lives, and I want to be a part of that tangle. "Game over," you say, and I don't know which I take more exception to- the fact that you say that it's over, or the fact that you say it's a game. It's only over when one of us keeps the notebook for good. It's only a game if there is an absence of meaning. And we've already gone too far for that.

If a man could pass through Paradise in a dream, and have a flower presented to him as a pledge that his soul had really been there, and if he found that flower in his hand when he awoke - Aye! and what then?

If I had to write a book on morality, it would have a hundred pages and ninety-nine would be blank. On the last page I should write: "I recognize only one duty, and that is to love.

Young writers should read books past bedtime and write things down in notebooks when they are supposed to be doing something else.

Reading list (1972 edition)[edit] 1. Homer – Iliad, Odyssey 2. The Old Testament 3. Aeschylus – Tragedies 4. Sophocles – Tragedies 5. Herodotus – Histories 6. Euripides – Tragedies 7. Thucydides – History of the Peloponnesian War 8. Hippocrates – Medical Writings 9. Aristophanes – Comedies 10. Plato – Dialogues 11. Aristotle – Works 12. Epicurus – Letter to Herodotus; Letter to Menoecus 13. Euclid – Elements 14. Archimedes – Works 15. Apollonius of Perga – Conic Sections 16. Cicero – Works 17. Lucretius – On the Nature of Things 18. Virgil – Works 19. Horace – Works 20. Livy – History of Rome 21. Ovid – Works 22. Plutarch – Parallel Lives; Moralia 23. Tacitus – Histories; Annals; Agricola Germania 24. Nicomachus of Gerasa – Introduction to Arithmetic 25. Epictetus – Discourses; Encheiridion 26. Ptolemy – Almagest 27. Lucian – Works 28. Marcus Aurelius – Meditations 29. Galen – On the Natural Faculties 30. The New Testament 31. Plotinus – The Enneads 32. St. Augustine – On the Teacher; Confessions; City of God; On Christian Doctrine 33. The Song of Roland 34. The Nibelungenlied 35. The Saga of Burnt Njál 36. St. Thomas Aquinas – Summa Theologica 37. Dante Alighieri – The Divine Comedy;The New Life; On Monarchy 38. Geoffrey Chaucer – Troilus and Criseyde; The Canterbury Tales 39. Leonardo da Vinci – Notebooks 40. Niccolò Machiavelli – The Prince; Discourses on the First Ten Books of Livy 41. Desiderius Erasmus – The Praise of Folly 42. Nicolaus Copernicus – On the Revolutions of the Heavenly Spheres 43. Thomas More – Utopia 44. Martin Luther – Table Talk; Three Treatises 45. François Rabelais – Gargantua and Pantagruel 46. John Calvin – Institutes of the Christian Religion 47. Michel de Montaigne – Essays 48. William Gilbert – On the Loadstone and Magnetic Bodies 49. Miguel de Cervantes – Don Quixote 50. Edmund Spenser – Prothalamion; The Faerie Queene 51. Francis Bacon – Essays; Advancement of Learning; Novum Organum, New Atlantis 52. William Shakespeare – Poetry and Plays 53. Galileo Galilei – Starry Messenger; Dialogues Concerning Two New Sciences 54. Johannes Kepler – Epitome of Copernican Astronomy; Concerning the Harmonies of the World 55. William Harvey – On the Motion of the Heart and Blood in Animals; On the Circulation of the Blood; On the Generation of Animals 56. Thomas Hobbes – Leviathan 57. René Descartes – Rules for the Direction of the Mind; Discourse on the Method; Geometry; Meditations on First Philosophy 58. John Milton – Works 59. Molière – Comedies 60. Blaise Pascal – The Provincial Letters; Pensees; Scientific Treatises 61. Christiaan Huygens – Treatise on Light 62. Benedict de Spinoza – Ethics 63. John Locke – Letter Concerning Toleration; Of Civil Government; Essay Concerning Human Understanding;Thoughts Concerning Education 64. Jean Baptiste Racine – Tragedies 65. Isaac Newton – Mathematical Principles of Natural Philosophy; Optics 66. Gottfried Wilhelm Leibniz – Discourse on Metaphysics; New Essays Concerning Human Understanding;Monadology 67. Daniel Defoe – Robinson Crusoe 68. Jonathan Swift – A Tale of a Tub; Journal to Stella; Gulliver's Travels; A Modest Proposal 69. William Congreve – The Way of the World 70. George Berkeley – Principles of Human Knowledge 71. Alexander Pope – Essay on Criticism; Rape of the Lock; Essay on Man 72. Charles de Secondat, baron de Montesquieu – Persian Letters; Spirit of Laws 73. Voltaire – Letters on the English; Candide; Philosophical Dictionary 74. Henry Fielding – Joseph Andrews; Tom Jones 75. Samuel Johnson – The Vanity of Human Wishes; Dictionary; Rasselas; The Lives of the Poets

Remember that the book which bores you when you are twenty or thirty will open doors for you when you are forty or fifty.

My books happen. They tend to blast in from nowhere, seize me by the throat, and howl 'Write me! Write me now!' But they rarely stand still long enough for me to see what and who they are, before they hurtle away again. And so I spend a lot of time running after them, like a thrown rider after an escaped horse, saying 'Wait for me! Wait for me!' and waving my notebook in the air.

There were not enough pages in all the books Elm had read, in all the libraries he’d wandered, in all the notebooks he’d scrawled, that could measure—denote or describe—just how beautiful she was.

...We try to have things both ways. We’ve always refused to live by the book and the rule; but then why start worrying because the world doesn’t treat us by rule?

I answer that I try to write true stories but that at a given point the story becomes unbearable because of it’s very truth, and then I have to change it. I tell her that I try to tell my story but all of a sudden I can’t-I don’t have the courage, it hurts too much. And so I embellish everything and describe things not as they happened but the way I wished they happened. She says, “Yes, there are lives sadder than the saddest of books.” I say, “Yes. No book, no matter how sad, can be as sad as a life.

No book, no matter how sad, can be as sad as a life.

I learned that books are never finished, that it is possible for stories to go on writing themselves without an author.

Taking pity on me, Carissa kept her voice low. “You were calling out for Daemon.”I dropped my face in my hands and moaned. “Oh, God.” Lesa giggled. “It was kind of cute.” A minute before the tardy bell rang, I felt an all-too-familiar warmth on my neck and glanced up. Daemon swaggered into class. Textbook-less as usual. He had a notebook, but I don’t think he ever wrote anything in it. I was beginning to suspect our math teacher was an alien, because how else would Daemon get away with not doing a damn thing in class? He passed by without so much as a look. I twisted around in my chair. “I need to talk to you.” He slid into his desk chair. “Okay.” “In private,” I whispered. His expression didn’t change as he leaned back in his chair. “Meet me in the library at lunch. No one really goes in there. You know, with all those books and stuff.

When we are young, we spend much time and pains in filling our note-books with all definitions of Religion, Love, Poetry, Politics, Art, in the hope that, in the course of a few years, we shall have condensed into our encyclopaedia the net value of all the theories at which the world has yet arrived. But year after year our tables get no completeness, and at last we discover that our curve is a parabola, whose arcs will never meet.

Do you want to guess what's in here?" I asked Dash. "I think I've got it figured out already. There's a new supply of red notebooks in there, and you want us to fill them in with clues about the works of, say, Nicholas Sparks." "Who?" I asked. Please, no more broody poets. I couldn't keep up. "You don't know who Nicholas Sparks is?" Dash asked. I shook my head. "Please don't ever find out," he said.

There is only one way to read, which is to browse in libraries and bookshops, picking up books that attract you, reading only those, dropping them when they bore you, skipping the parts that drag—and never, never reading anything because you feel you ought, or because it is part of a trend or a movement.

It had become a chimney poking from a vertical universe of bookshelves. There was motion below her. There were people on the shelves. They clung to the edges of the cases and moved across them in expert scuttles. They wore ropes and hooks and carried picks on which they sometimes hung. Dangling from straps they carried notebooks, pens, magnifying glasses, ink pads, and stamps. The men and women took books from the shelves as they went, checked their details, leaning against their ropes, replaced them, pulled out little pads and made notes, sometimes carried the books with them to another place and reshelved it there. ... I'm Margarita Staples." She bowed in her harness. 'Extreme librarian. Bookaneer.

Walking around, even on a bad day, I would see things – I mean just the things that were in front of me. People’s faces, the weather, traffic. The smell of petrol from the garage, the feeling of being rained on, completely ordinary things. And in that way even the bad days were good, because I felt them and remembered feeling them. There was something delicate about living like that – like I was an instrument and the world touched me and reverberated inside me. After a couple of months, I started to miss days. Sometimes I would fall asleep without remembering to write anything, but then other nights I’d open the book and not know what to write – I wouldn’t be able to think of anything at all. When I did make entries, they were increasingly verbal and abstract: song titles, or quotes from novels, or text messages from friends. By spring I couldn’t keep it up anymore. I started to put the diary away for weeks at a time – it was just a cheap black notebook I got at work – and then eventually I’d take it back out to look at the entries from the previous year. At that point, I found it impossible to imagine ever feeling again as I had apparently once felt about rain or flowers. It wasn’t just that I failed to be delighted by sensory experiences – it was that I didn’t actually seem to have them anymore. I would walk to work or go out for groceries or whatever and by the time I came home again I wouldn’t be able to remember seeing or hearing anything distinctive at all. I suppose I was seeing but not looking – the visual world just came to me flat, like a catalogue of information. I never looked at things anymore, in the way I had before.

On November 18 of alternate years Mr Earbrass begins writing 'his new novel'. Weeks ago he chose its title at random from a list of them he keeps in a little green note-book. It being tea-time of the 17th, he is alarmed not to have thought of a plot to which The Unstrung Harp might apply.

There are many people who reach their conclusions about life like schoolboys: they cheat their master by copying the answer out of a book without having worked out the sum for themselves.

And I’ll admit—I thought it might be best if we kept it all to the page, passed that notebook back and forth until we were ninety. But clearly that wasn’t meant to be. And who am I to blow against the wind?

Those for whom the world is not enough: saints, conquerors, poets, and all lovers of books.

Strangely, I thought of the emotion I ought to feel without feeling it, as impartial as a National Geographic field researcher, carefully watching the events and chronicling them in a notebook. Deirdre finds that she is saddened by the news of her grandmother's death, and moreover, suddenly fears for the rest of her family and friends.

Write it. Just write it. Write it on receipts in the car while you wait for your kid to finish their piano lessons, scribble on napkins at lunch with friends. Type on crappy typewriters or borrow computers if you have to. Fill notebooks with ink. Write inside your head while you’re in traffic and when you’re sitting in the doctor’s office. Write the truth, write lies. Write the perfect spouse. Write your dreams. Write your nightmares. Write while you cry about what you’re writing, write while you laugh out loud at your own words. Write until your fingers hurt, then keep writing more. Don’t ever stop writing. Don’t ever give up on your story, no matter what “they” say. Don’t ever let anybody take away your voice. You have something to say, your soul has a story to tell. Write it. There is never any reason to be afraid. Just write it and then put it out there for the world. Shove it up a flag pole and see who salutes it. Somebody will say it’s crap. So what? Somebody else will love it. And that’s what writing’s about. Love. Love of the art, love of the story, and love for and from the people who really understand your work. Nobody else matters. Love yourself. Love your work. Be brave. Just write.

You go through life thinking there's so much you need. Your favorite jeans and sweater. The jacket with the faux-fur lining to keep you warm. Your phone and your music and your favorite books. Mascara. Irish breakfast tea and cappuccinos from Trouble Coffee. You need your yearbooks, every stiffly posed school-dance photo, the notes your friends slipped into your locker. You need the camera you got for your sixteenth birthday and the flowers you dried. You need your notebooks full of the things you learned and don't want to forget. You need your bedspread, white with black diamonds. You need your pillow - it fits the way you sleep. You need magazines promising self-improvement. You need your running shoes and your sandals and your boots. Your grade report from the semester you got straight As. Your prom dress, your shiny earrings, your pendants on delicate chains. You need your underwear, your light-colored bras and your black ones. The dream catcher hanging above your bed. The dozens and dozens of shells in glass jars... You think you need all of it. Until you leave with only your phone, your wallet, and a picture of your mother.

What will I write in this beautiful book? She carried the book to class for the rest of the day, and that night she put it under her pillow, still blank. She liked it blank right now, liked to know that it was waiting, listening. Just like her friends.

Don’t force your gifts: if you are a rascal, live like one; if you are half honest, be half honest; if you are completely honest, live absolutely honestly.

Who are they?” I whispered, as we took seats opposite each other. Scout glanced up as she pulled notebooks and books from her bag. “The dragon ladies. They monitor lights-out, watch us while we study, and generally make sure that nothing fun occurs on their watch.” “Awesome,” I said, flipping open my trig book. “I’m a fun hater myself.

I’ve become obsessed. I carry her notebook with me everywhere I go, spending all my free moments trying to decipher the words she’s scribbled in the margins, developing stories to go along with the numbers she’s written down. I’ve also noticed that the last page is missing. Ripped out. I can’t help but wonder why. I’ve searched through the book a hundred times, looking for other sections where pages might be gone, but I’ve found none. And somehow I feel cheated, knowing there’s a piece I might’ve missed. It’s not even my journal; it’s none of my business at all, but I’ve read her words so many times now that they feel like my own. I can practically recite them from memory. It’s strange being in her head without being able to see her. I feel like she’s here, right in front of me. I feel like I now know her so intimately, so privately. I’m safe in the company of her thoughts; I feel welcome, somehow. Understood. So much so that some days I manage to forget that she’s the one who put this bullet hole in my arm. I almost forget that she still hates me, despite how hard I’ve fallen for her. And I’ve fallen. So hard. I’ve hit the ground. Gone right through it.

I was sickly as a child and gravitated to books and drawing. During my early teen years, I spent hundreds of hours at my window, sketching neighborhood children at play. I sketched and listened, and those notebooks became the fertile field of my work later on. There is not a book I have written or a picture I have drawn that does not, in some way, owe them its existence.

The reward is in the risk. You can’t stay hidden inside Grandpa’s overprotective cloak forever. You’ve seemed like you needed to grow out of that for a while. Mom and Dad going away, and the red notebook, these things just helped. Now it’s up to you to

When you fish for love, bait with your heart, not your brain. Notebook

You can make it all right if you will only be satisfied to remain small,' I told myself. I had to keep saying it over and over to myself. 'Be little. Don't try to be big. Work under the guns. Be a little worm in the fair apple of life.' I got all of these sayings at my tongue's end, used to go through the streets of Chicago muttering them to myself.

Your brilliant first flop was a raging success! Come on, let's get busy and on to the next!" She handed a notebook to Rosie Revere, who smiled at her aunt as it all became clear. Life might have its failures, but this was not it. The only true failure can come if you quit.

I mean, like most guys, you carry around this girl in your head, who is exactly who you want her to be. The person you think you will love the most. And every girl you are with gets measured against this girl in your head. So this girl with the red notebook - it makes sense. If you never met her, she never has to get measured. She can be the girl in your head.

Because I hadn’t known that I knew these things. Just having a notebook to write them in, and having someone to write them to, made them all rise to the surface.

I don't choose between my house phone and my mobile. I don't choose between my laptop and my notebook. And I don't intend to choose between my e-reader and my bookshelf.

The notebook smelled the way old books do, like dust and unrealized potential.

To some extent the history of plagiarism is a history of notebooks.

Finding this,” he says, his voice soft as he pats the cover of my notebook, “was so”—his eyebrows pull together—“it was so extraordinarily painful.” He finally looks at me and he looks like a completely different person. Like he’s trying to solve a tremendously difficult equation. “It was like meeting a friend for the very first time.

There were not enough pages in all the books Elm had read, in all the libraries he’d wandered, in all the notebooks he’d scrawled, that could measure—denote or describe—just how beautiful she was. “There you are.

I suppose that words, timely and arranged in the right order, produce an afterglow. When you read words like that in a book, beautiful words, a powerful but fleeting emotion ensues. And you also know that soon, it’ll all be gone: the concept you just grasped and the emotion it produced. Then comes a need to possess that strange, ephemeral afterglow, and to hold on to that emotion. So you reread, underline, and perhaps even memorize and transcribe the words somewhere – in a notebook, on a napkin, on your hand.

Few people know this, but I am a trained assassin, skilled in jujitsu and krav maga. I can also, with a few folds, turn an ordinary piece of notebook paper into a lethal weapon. Or I can turn it into a butterfly, which is a great trick when I'm babysitting." I fought a smile. "A trained assassin who babysits." "Only the Greene twins and only because their family gets every premium channel on the planet.

I had a serious library at my disposal, because my Popo believed that culture entered by osmosis and it was better to start early, but my favorite books were fairy tales.

Concerning the difference between man and the jackass: some observers hold that there isn’t any. But this wrongs the jackass. Notebook When

When you read words like that in a book, beautiful words, a powerful but fleeting emotion ensues. And you also know that soon, it’ll all be gone: the concept you just grasped and the emotion it produced. Then comes a need to possess that strange, ephemeral afterglow, and to hold on to that emotion. So you reread, underline, and perhaps even memorize and transcribe the words somewhere—in a notebook, on a napkin, on your hand.

What Now? Talk a walk Start your swipe file Go to the library Buy a notebook and use it Get yourself a calendar Start your logbook Give a copy of this book away Start a blog Take a nap

Tonight I write this journal entry on my laptop. Other nights I have handwritten entries in notebooks. Sometimes I jot down notes as I ride home in the cab or wait for an appointment. I want all of this -- everything and everyone -- to stay with me.

She wants to have her notebooks so that the flimsy framework of events, as she has constructed them in her school notebook, will be provided with walls and become a house she can live in. Because if the tottering structure of her memories collapses like a clumsily pitched tent, all that Tamina will be left with is the present, that invisible point, that nothingness moving slowly toward death.

I left the bank because they wouldn’t deposit my cheque of poems. So I went to the store, but they didn’t accept my currency of words. So I boxed all my stories and took them to charity. But they refused my donation and asked me to give blood instead. I opened the notebooks and made them look, 'What do you think I wrote these in?

In notes for his treatise on painting, Leonardo recommended to young artists this practice of walking around town, finding people to use as models, and recording the most interesting ones in a portable notebook: “Take a note of them with slight strokes in a little book which you should always carry with you,” he wrote. “The positions of the people are so infinite that the memory is incapable of retaining them, which is why you should keep these sketches as your guides.”22

I mean, by such flightiness, something that feels unsatisfied at the center of my life — that makes me shaky, fickle, inquisitive, and hungry. I could call it a longing for home and not be far wrong. Or I could call it a longing for whatever supersedes, if it cannot pass through, understanding. Other words that come to mind: faith, grace, rest. In my outward appearance and life habits I hardly change — there’s never been a day that my friends haven’t been able to say, and at a distance, “There’s Oliver, still standing around in the weeds. There she is, still scribbling in her notebook.” But, at the center: I am shaking; I am flashing like tinsel. Restless. I read about ideas. Yet I let them remain ideas. I read about the poet who threw his books away, the better to come to a spiritual completion. Yet I keep my books. I flutter; I am attentive, maybe I even rise a little, balancing; then I fall back.

But I may also be afraid. I am afraid. I have already read it. And, not to lie to you, I liked it. But I am afraid. I am not afraid of you, Fidelia, Sania, Ania. I am afraid of you. (I put all this in my separate notebook. My doubtbook.)

How could I forget. I was her ghost daughter, sitting at empty tables with crayons and pens while she worked on a poem, a girl malleable as white clay. Someone to shape, instruct in the ways of being her. She was always shaping me. She showed me an orange, a cluster of pine needles, a faceted quartz, and made me describe them to her. I couldn’t have been more than three or four. My words, that’s what she wanted. ”What’s this?” she kept asking. ”What’s this?” But how could I tell her? She’d taken all the words. The smell of tuberoses saturated the night air, and the wind clicked through the palms like thoughts through my sleepless mind. Who am I? I am a girl you don’t know, mother. The silent girl in the back row of the classroom, drawing in notebooks. Remember how they didn’t know if I even spoke English when we came back to the country? They tested me to find out if I was retarded or deaf. But you never asked why. You never thought, maybe I should have left Astrid some words. I thought of Yvonne in our room, asleep, thumb in mouth, wrapped around her baby like a top. ”I can see her,” you said. You could never see her, Mother. Not if you stood in that room all night. You could only see her plucked eyebrows, her bad teeth, the books that she read with the fainting women on the covers. You could never recognize the kindness in that girl, the depth of her needs, how desperately she wanted to belong, that’s why she was pregnant again. You could judge her as you judged everything else, inferior, but you could never see her. Things weren’t real to you. They were just raw material for you to reshape to tell a story you liked better. You could never just listen to a boy playing guitar, you’d have to turn it into a poem, make it all about you.

October is a fine and dangerous season in America. It is dry and cool and the land is wild with red and gold and crimson, and all the lassitudes of August have seeped out of your blood, and you are full of ambition. It is a wonderful time to begin anything at all. You go to college, and every course in the catalogue looks wonderful. The names of the subjects all seem to lay open the way to a new world. Your arms are full of new, clean notebooks, waiting to be filled. You pass the doors of the library, and the smell of thousands of well-kept books makes your head swim with a clean and subtle pleasure.

One thing you distinctly never want to hear a man you're interested in say softly is that his favorite book in the whole world is The Golden Notebook. Here you are dealing with a liar from the black lagoon and it's time to start feeling in your purse for carfare.

Society never advances. It recedes as fast on one side as it gains on the other. It undergoes continual changes; it is barbarous, it is civilized, it is christianized, it is rich, it is scientific; but this change is not amelioration. For every thing that is given, something is taken. Society acquires new arts, and loses old instincts. What a contrast between the well-clad, reading, writing, thinking American, with a watch, a pencil, and a bill of exchange in his pocket, and the naked New Zealander, whose property is a club, a spear, a mat, and an undivided twentieth of a shed to sleep under! But compare the health of the two men, and you shall see that the white man has lost his aboriginal strength. If the traveller tell us truly, strike the savage with a broad axe, and in a day or two the flesh shall unite and heal as if you struck the blow into soft pitch, and the same blow shall send the white to his grave. The civilized man has built a coach, but has lost the use of his feet. He is supported on crutches, but lacks so much support of muscle. He has a fine Geneva watch, but he fails of the skill to tell the hour by the sun. A Greenwich nautical almanac he has, and so being sure of the information when he wants it, the man in the street does not know a star in the sky. The solstice he does not observe; the equinox he knows as little; and the whole bright calendar of the year is without a dial in his mind. His note-books impair his memory; his libraries overload his wit; the insurance-office increases the number of accidents; and it may be a question whether machinery does not encumber; whether we have not lost by refinement some energy, by a Christianity entrenched in establishments and forms, some vigor of wild virtue. For every Stoic was a Stoic; but in Christendom where is the Christian?

Think of that Thoreau fellow. I've read some of his books. He went out and lived in a shack and looked at a pond. Now he's one of your heroes. If I go out and live in a shack and look at a pond, pretty soon I'll have so many damn social workers beating on my door that I won't be able to sleep. “They'll start scribbling in some damn notebook: ‘No initiative. No self-esteem.’ They'll write reports, get grants, start some government program with a bunch of forms.

Let us take down one of those old notebooks which we have all, at one time or another, had a passion for beginning. Most of the pages are blank, it is true; but at the beginning we shall find a certain number very beautifully covered with a strikingly legible handwriting….here we have copied out fine passages from the classics;…here, most interesting of all, lists of books that have actually been read, as the reader testifies with some youthful vanity by a dash of red ink.

How good it is to be among reading people. Why are they not always like that? You can go up to one of them and touch him lightly; he feels nothing. And if in rising, you chance to bump lightly against a neighbor and excuse yourself, he nods toward the side from which he hears your voice, his face turns toward you and does not see you, and his hair is like that of a man asleep. How comforting that is.

Game over,” you say, and I don’t know which I take more exception to—the fact that you say that it’s over, or the fact that you say it’s a game. It’s only over when one of us keeps the notebook for good. It’s only a game if there is an absence of meaning. And we’ve already gone too far for that.   Only

She refused at first, saying it would make a mockery of their love. She loved him too much to admit that what she thought of as unforgettable could ever be forgotten. Finally, of course, she did as he asked, but without enthusiasm. The notebooks showed it: they had many empty pages, and the entries were fragmentary.

Then I told her what I didn’t see. Namely, that I didn’t see her. You could be standing a few feet away—Clara’s dance partner, or across the street taking a picture of Rudolph before he takes �ight. I could have sat next to you on the subway, or brushed beside you as we went through the turnstiles. But whether or not you are here, you are here—because these words are for you, and they wouldn’t exist if you weren’t here in some way. This notebook is a strange instrument—the player doesn’t know the music until it’s being played.

When Leonardo da Vinci wanted to create a whole new style of painting, one that was more lifelike and emotional, he engaged in an obsessive study of details. He spent endless hours experimenting with forms of light hitting various geometrical solids, to test how light could alter the appearance of objects. He devoted hundreds of pages in his notebooks to exploring the various gradations of shadows in every possible combination. He gave this same attention to the folds of a gown, the patterns in hair, the various minute changes in the expression of a human face. When we look at his work we are not consciously aware of these efforts on his part, but we feel how much more alive and realistic his paintings are, as if he had captured reality.

When I first read the Harry Potter books and learned about the lightning bolt scar on Harry's forehead, I thought, Of course. Of course love worked that way. Of course it left its mark on the beloved. This secret mark protected you, kept you safe from harm, reminded you of who you were. All it took was the smallest symbol and you were safe. As I grew older and discovered my love of literature, I externalized the markings, wrote them down in my Moleskine, kept my notebook close - so much so that when the LIA counselors took away my notebook years later, they took away much of this protection. But they didn't take all of it. The empty pages still carried ghosts.

Kenneth Clark referred to Leonardo’s “inhumanly sharp eye.” It’s a nice phrase, but misleading. Leonardo was human. The acuteness of his observational skill was not some superpower he possessed. Instead, it was a product of his own effort. That’s important, because it means that we can, if we wish, not just marvel at him but try to learn from him by pushing ourselves to look at things more curiously and intensely. In his notebook, he described his method—almost like a trick—for closely observing a scene or object: look carefully and separately at each detail. He compared it to looking at the page of a book, which is meaningless when taken in as a whole and instead needs to be looked at word by word. Deep observation must be done in steps: “If you wish to have a sound knowledge of the forms of objects, begin with the details of them, and do not go on to the second step until you have the first well fixed in memory.

The morality of the church is anachronistic. Will it ever develop a moral insight and courage sufficient to cope with the real problems of modern society? If it does it will require generations of effort and not a few martyrdoms. We ministers maintain our pride and self-respect and our sense of importance only through a vast and inclusive ignorance. If we knew the world in which we live a little better we would perish in shame or be overcome by a sense of futility.

Would you not like to fill up a whole note-book at the street crossings when you see a forger borne along upon the necks of six porters, and exposed to view on this side and on that in his almost naked litter, and reminding you of the lounging Maecenas: one who by help of a scrap of paper and a moistened seal has converted himself into a fine and wealthy gentleman?

Yet I am incapable of writing the only kind of novel which interests me: a book powered with an intellectual or moral passion strong enough to create order, to create a new way of looking at life. It is because I am too diffused. I have decided never to write another novel. I have fifty 'subjects' I could write about; and they would be competent enough. If there is one thing we can be sure of, it is that competent and informative novels will continue to pour from the publishing houses. I have only one, and the least important, of the qualities necessary to write at all, and that is curiosity. It is the curiosity of the journalist.

And then I get it. The 318s have somehow decided to make me do the things that are in my notebook. All the things I’m afraid of. The things I’ve been writing since the seventh grade. And if I don’t, they’re going to post the book on the internet, and everyone at school, no, everyone with an internet connection, will know all my secrets. For a second, it feels like my throat swallows up my heart and my breath catches in my throat. There’s only one thing left to do. I put my head in my hands and start to cry.

I‘ve forgotten who it was that said creation is memory. My own experiences and the various things I have read remain in my memory and become the basis upon which I create something new. I couldn’t do it out of nothing. For this reason, since the time I was a young man I have always kept a notebook handy when I read a book. I write down my reactions and what particularly moves me. I have stacks and stacks of these college notebooks, and when I go off to write a script, these are what I read. Somewhere they always provide me with a point of breakthrough. Even for single lines of dialogue I have taken hints from these notebooks. So what I want to say is, don’t read books while lying down in bed.

How much such a little moon can do. There are days when everything about one is bright, light, scarcely stated in the clear air and yet distinct. Even what lies nearest has tones of distance, has been taken away and is only shown, not proffered; and everything related to expanse–the river, the bridges, the longs streets, and the squares that squander themselves–has taken that expanse in behind itself, is painted on it as on silk. It is not possible to say what a bright green wagon on the Pont-Neuf can then become, or some red that is not to be held in, or even a simple placard on the party wall of a pearl-grey group of houses. Everything is simplified, brought into a few right, clear planes, like the face in a Manet portrait. And nothing is trivial and superfluous. The booksellers on the quai open their stalls, and the fresh or worn yellow of their books, the violet brown of the bindings, the bigger green of an album–everything harmonizes, counts, takes part, creating a fulness in which nothing lacks

Sometimes my sadness in reading is that I can’t stay. I fall away from the ability to receive. So that the life-long work of reading is the process of situating and elaborating within myself techniques that might guide or permit the lengthening duration and affective expansion of my receptive capacity. Within reading I desire lastingness in tandem with the falling away.   Writing proposes itself as a possible technique towards lastingness. My body becomes a desk. I lay the book on my chest; the notebook was waiting behind it, propped on the sloping lectern of the top of my thighs.

Even through his terror, Hiccup was blown away with excitement at seeing so many books in one place at one time. He had scribbled away in notebooks himself, of course, but because books were banned by order of The Thing, the only proper book he had ever really held was that copy of 'How to Train Your Dragon', which Toothless had incinerated. And he hadn't been very impressed by that particular book. Not enough words, in his opinion. But here, it was like entering a cave full of treasure. "WOW," breathed Hiccup, "if you stayed here long enough you really could find the answer to everything...

What did it say about me that he hadn’t? That he couldn’t possibly like me as much as I’d started to like him. That I would never be as pretty and interesting as that Sofia girl, while Dash’s handsome face would continue to appear in my daydreams. Unrequited. It wasn’t fair that I sort of missed him. Not his presence so much—I barely knew him—but having that red notebook link to him. Knowing he was out there thinking or doing something that would be communicated to me in some surprising way.

Ippolit Matveevich turned even redder, pulled out a tiny notebook, and wrote in a calligraphic hand: 25/4/1927 — rubles issued to Comrade Bender — 8. Ostap took a look inside the little book. 'Oh-ho! If you've gone ahead and opened a personal account for me, then the least you could do is tally it right. Start up a debit column, start up a credit column. Don't forget to enter the sixty thousand rubles you owe me in the debits, and the vest can go in the credits. The balance is in my favor: 59,992 rubles.

You know what writing is? Writing is sitting on a chair staring into space. Writing is two hours surfing the internet and five minutes typing. Writing is skim-reading ‘writing advice’ on websites and muttering ‘fuck off’ under your breath. Writing is looking at your friends’ success and muttering ‘fuck off’ under your breath. Writing is reading over what you’ve written and thinking you’re a genius. Writing is reading over what you’ve written and shouting ‘fuck you’ at the screen. Writing is £3500 college courses after which you pursue a career in telemarketing. Writing is something you either fucking do or you fucking don’t. Writing is listening to Tom Waits and wanting to be the literary equivalent. Writing is ending up as the literary equivalent of Bananarama. Writing is forty publishers saying you do not meet our needs at this time. Writing is meeting no one’s needs at any time. Writing is completing 2000 words one morning and weeping about never being able to write again the next. Writing is losing a whole day’s work to a decrepit Dell laptop. Writing is never having the time to write and never writing when you have the time. Writing is having one idea and coasting on that for months until another one comes along. Writing is never having any ideas. Writing is sitting at a bus stop and having four million ideas and not having a notebook to hand. Writing is laughing at the sort of people who keep notebooks on them at all times as if they are proper writers. Writing is reading. Writing is reading. Writing is reading. Writin’ is fightin’. Writing is writing.

Working with traumatized and maltreated children has also made me think carefully about the nature of humankind and the difference between humankind and humanity. Not all humans are humane. A human being has to learn how to become humane. That process—and how it can sometimes go terribly wrong—is another aspect of what this book is about. The stories here explore the conditions necessary for the development of empathy—and those that are likely, instead, to produce cruelty and indifference. They reveal how children’s brains grow and are molded by the people around them. They also expose how ignorance, poverty, violence, sexual abuse, chaos and neglect can wreak havoc upon growing brains and nascent personalities.

Now, no complaining, Waxillium. It will help. I’ve put the list in this little book,” Steris said, producing a palm-sized notebook, “for ease of reference. Each page contains a conversation opener, indexed to the people it will likely work best upon. The numbers below list ways you could segue the conversation into useful areas and perhaps figure out what our targets are up to, and what their connection is to the Bands of Mourning.” “I’m not socially incompetent, Steris,” Wax said. “I can make small talk.” “I know that,” Steris said, “but I’d rather avoid an incident like the Cett party.…” “Which Cett party?” “The one where you head-butted someone.” He cocked his head. “Oh, right. That smarmy little man with the ridiculous mustache.

I began scribbling in notebooks and notebooks, trying to write my way into being since I never saw anyone who looked like me in books, movies, or videos. None of this writing was what I would remotely call poetry, but I know it had a lyric register. I was teaching myself (and badly copying) metaphor. I was figuring out the delight and pop of music, and the electricity on my tongue when I read out loud. I was at the surface again. I was once more the girl who had begged my parents and principal to let me start school a whole year early. And I was hungry.

Anne Frank is best known as the writer of her world-famous diary, though she tried her hand at other genres as well. Between September 1943 and May 1944, Anne wrote numerous stories, fairy tales, essays and personal reminiscences in a stiff-backed notebook reserved for that purpose. She did her utmost to make it resemble a real book, copying her stories neatly into the notebook and adding a title page, a table of contents, page numbers and so forth. Her collection of tales is now reproduced here in full, in a new translation, in the exact order in which she wrote them in her notebook.

Poppy used to share the room with her older sister, and piles of he sister's outgrown clothes still remained spread out in drifts, along with a collection of used makeup and notebooks covered in stickers and scrawled with lyrics. A jumbled of her sister's old Barbies were on top of a bookshelf, waiting for Poppy to try and fix their melted arms and chopped hair. The bookshelves were overflowing with fantasy paperbacks and overdue library books, some of them on Greek myths, some on mermaids, and a few on local hauntings. The walls were covered in posters-Doctor Who, a cat in a bowler hat, and a giant map of Narnia.

After a noticeable silence, he'd recently published a book of technically baffling poems, with line breaks so arbitrary and frequent as to be useless, arrhythmic. On the page they look like some of Charles Bukowski's skinny, chatty, muttering-stuttering antiverses. Impossibly, Mark's words make music, the faraway strains of an irresistible jazz. It's plain to any reader, within a few lines—well, go read the poems and see, Marcus Ahearn traffics with the ineffable. He makes the mind of the speaker present, in that here-and-now where the reader actually reads—that place. Such a rare thing. Samuel Beckett. Jean Follain, Ionesco—the composer Billy Strayhorn. Mark calls his process "psychic improvisation" and referred me to the painter Paul Klee; the term was Klee's. "You just get out a pen and a notebook and let your mind go long," he told me.

And to think that I might have become a poet like that if I had been allowed to settle somewhere, anywhere in the world, in one of the many shuttered-up houses in the country that no one looks after anymore. I would only have needed one room (the light room in the gable). I would have lived inside it with my old things, my family portraits, my books. And I would have had an armchair, and flowers and dogs, and a stout stick for rocky paths. And nothing else. Only a book bound in yellowing ivory-coloured leather with a flowery pattern for its endpapers: I would have written in it. I would have written a great deal, because I would have had many thoughts and memories of many things.

All right,” I said, and wrote in my notebook, Abe Lincoln type. I didn’t have to remind myself about that. I just wrote because I had got in the habit. You can build up an awful lot of habits in six years, and you can fill an awful lot of little black books in that time and put them in a safety-deposit box when they get full because they aren’t something to leave around and because they would be worth their weight in gold to some parties to get their hands on. Not that they ever got their hands on them. A man’s got to carry something besides a corroded liver with him out of that dark backward and abysm of time, and it might as well be the little black books. The little black books lie up there in the safety-deposit box, and there are your works of days and hands all cozy in the dark in the little box and the world’s great axis grinds.

1924 A revival meeting seems never to get under my skin. Perhaps I am too fish-blooded to enjoy them. But I object not so much to the emotionalism as to the lack of intellectual honesty of the average revival preacher. I do not mean to imply that the evangelists are necessarily consciously dishonest. They just don’t know enough about life and history to present the problem of the Christian life in its full meaning. They are always assuming that nothing but an emotional commitment to Christ is needed to save the soul from its sin and chaos. They seem never to realize how many of the miseries of mankind are due not to malice but to misdirected zeal and unbalanced virtue. They never help the people who corrupt family love by making the family a selfish unit in society or those who brutalize industry by excessive devotion to the prudential virtues.

The novel had a framework made by thinking. The thought was that to divide off and compartmentalize living was dangerous and led to nothing but trouble. Old, young; black, white; men, women; capitalism, socialism; these dichotomies undo us, force us into unreal categorisation, make us look for what separates us rather than what we have in common. That was the thought, which made the shape or pattern of 'The Golden Notebook'. But the emotions were stronger than the thought. This is why I have always seen TGN as a failure: a failure in my terms, of what I had meant. For has this book changed by an iota our tendency to think like computers set to sort everything - people, ideas, history - into boxes? No, it has not. Yet why should I have such a hubristic thought? But I was in the grip of discovery, of revelation. I had only just seen this Truth: I was watching my own mind working like a sorting machine, and I was appalled.

Now you've done it." His tone was quietly playful. I couldn't help it.I looked up at him questioningly. "You've added a third word to your repitoire. Hi,thanks,and now yes." His lips turned up at the corners,and the heat rushed to my face. He noticed. "At least that much hasn't changed." I turned back to my notebook,my hands trembling. He leaned toward me. "Now that we have our first conversation out of the way, do you want to tell me where you've been?" From the way he spoke I knew his smile was gone. I could feel little beads of sweat form on my forehead. "You left me.Without a word," he said. He sounded tentative, as if he were trying to keep his voice even. I took in a deep breath,but I couldn't figure out what he was feeling. There wasn't one singular emotion that was stronger than the others. "Don't you have anything to say to me?" He waited. My heart felt like it would burst through my chest into a million little pieces,and I could see this wasn't going to work. I started to close my book. "Don't-" he blurted, and I froze. "Don't go.You don't have to talk to me.I'm the one who should go." His voice sounded achingly sad. I could hear him packing his bag. Say something.Say something. "Um..." Jack paused, as if further movement might stop my words. He was the reason I came back.I couldn't scare him off. As hard as it would be to talk to him,it would be much harder to watch him walk out that door. "No," I said. I took a shaky breath. "You don't...have to leave. Please." He took his book back out and put it on his desk. I followed,setting my own books out. "Thank you," Jack whispered. We didn't talk for the rest of the hour.

Dr. Mary Atwater's story was so inspiring. Growing up, Dr. Atwater had a dream to one day be a teacher. But as a black person in the American South during the 1950s, she didn't have many great educational opportunities. It didn't help that she was also a girl, and a girl who loved science, since many believed that science was a subject only for men. Well, like me, she didn't listen to what others said. And also like me, Dr. Atwater had a father, Mr. John C. Monroe, who believed in her dreams and saved money to send her and her siblings to college. She eventually got a PhD in science education with a concentration in chemistry. She was an associate director at New Mexico State University and then taught physical science and chemistry at Fayetteville State University. She later joined the University of Georgia, where she still works as a science education researcher. Along the way, she began writing science books, never knowing that, many years down the road, one of those books would end up in Wimbe, Malawi, and change my life forever. I'd informed Dr. Atwater that the copy of Using Energy I'd borrowed so many times had been stolen (probably by another student hoping to get the same magic), so that day in Washington, she presented me with my own copy, along with the teacher's edition and a special notebook to record my experiments. "Your story confirms my belief in human beings and their abilities to make the world a better place by using science," she told me. "I'm happy that I lived long enough to see that something I wrote could change someone's life. I'm glad I found you." And for sure, I'm also happy to have found Dr. Atwater.

The deeply irrational attitude of each sex toward women may be seen in novels, particularly in bad novels. In bad novels by men, there is the woman with whom the author is in love, who usually possesses every charm, but is somewhat helpless, and requires male protection; sometimes, however, like Shakespeare’s Cleopatra, she is an object of exasperated hatred, and is thought to be deeply and desperately wicked. In portraying the heroine, the male author does not write from observation, but merely objectifies his own emotions. In regard to his other female characters, he is more objective, and may even depend upon his notebook; but when he is in love, his passion makes a mist between him and the object of his devotion. Women novelists, also, have two kinds of women in their books. One is themselves, glamorous and kind, and object of lust to the wicked and of love to the good, sensitive, highsouled, and constantly misjudged. The other kind is represented by all other women, and is usually portrayed as petty, spiteful, cruel, and deceitful. It would seem that to judge women without bias is not easy either for men or for women.

Asking a writer why they like to write {in the theoretical sense of the question} is like asking a person why they breathe. For me, writing is a natural reflex to the beauty, the events, and the people I see around me. As Anais Nin put it, "We write to taste life twice." I live and then I write. The one transfers to the other, for me, in a gentle, necessary way. As prosaic as it sounds, I believe I process by writing. Part of the way I deal with stressful situations, catty people, or great joy or great trials in my own life is by conjuring it onto paper in some way; a journal entry, a blog post, my writing notebook, or my latest story. While I am a fair conversationalist, my real forte is expressing myself in words on paper. If I leave it all chasing round my head like rabbits in a warren, I'm apt to become a bug-bear to live with and my family would not thank me. Some people need counselors. Some people need long, drawn-out phone-calls with a trusted friend. Some people need to go out for a run. I need to get away to a quiet, lonesome corner--preferably on the front steps at gloaming with the North Star trembling against the darkening blue. I need to set my pen fiercely against the page {for at such moments I must be writing--not typing.} and I need to convert the stress or excitement or happiness into something to be shared with another person. The beauty of the relationship between reading and writing is its give-and-take dynamic. For years I gathered and read every book in the near vicinity and absorbed tale upon tale, story upon story, adventures and sagas and dramas and classics. I fed my fancy, my tastes, and my ideas upon good books and thus those aspects of myself grew up to be none too shabby. When I began to employ my fancy, tastes, and ideas in writing my own books, the dawning of a strange and wonderful idea tinged the horizon of thought with blush-rose colors: If I persisted and worked hard and poured myself into the craft, I could create one of those books. One of the heart-books that foster a love of reading and even writing in another person somewhere. I could have a hand in forming another person's mind. A great responsibility and a great privilege that, and one I would love to be a party to. Books can change a person. I am a firm believer in that. I cannot tell you how many sentiments or noble ideas or parts of my own personality are woven from threads of things I've read over the years. I hoard quotations and shadows of quotations and general impressions of books like a tzar of Russia hoards his icy treasures. They make up a large part of who I am. I think it's worth saying again: books can change a person. For better or for worse. As a writer it's my two-edged gift to be able to slay or heal where I will. It's my responsibility to wield that weapon aright and do only good with my words. Or only purposeful cutting. I am not set against the surgeon's method of butchery--the nicking of a person's spirit, the rubbing in of a salty, stinging salve, and the ultimate healing-over of that wound that makes for a healthier person in the end. It's the bitter herbs that heal the best, so now and again you might be called upon to write something with more cayenne than honey about it. But the end must be good. We cannot let the Light fade from our words.