Review Posters Quotes

Some writers refuse to lay their heads peaceably on the pillow of literary history in order to give posterity good dreams." -- review in London Review of Books, of the works of Knut Hamsun (26 nov 1998)

Well, I can’t really talk about it, but we’ve recently acquired a very promising new author who specialises in high-concept science fiction. And it got a starred review in Publishers Weekly and everything, and there were some wonderful pull quotes and the one we decided to run with especially recommended it to fans of another, more famous author of high-concept science fiction. So we put it on all the posters and there’s big campaign all over the Underground and it’s on the front of the book and it’s too late to change any of it.” Oliver was looking perplexed in a way that made me want to hug him. “That seems unalloyedly positive, Bridget.” “It would be.” She threw herself into the nearest free chair. “Except the more famous author in question was Philip K. Dick. And the pull quote was, ‘If you like Dick, you’ll love this.’ And no one spotted it until we started getting extremely disappointed reviews on Amazon.

The Wanted poster had been based on the Westhofen intake records of December ’34, with the exception of the description of the clothing. But except for the jacket, the guard thought, nothing about this man coincided with the specifications he’d been given. This fellow could have been the fugitive’s father; the wanted man in the picture was his own age, a young fellow with a smooth, bold face, while this man here had a flat face with a thick nose and puffy lips. He waved them on. “Heil Hitler!

For me, writing any piece of advertising is unnerving. You sit down with your partner and put your feet up. You read the strategist's brief, draw a square on a pad of paper, and you both stare at the damned thing. You stare at each other's shoes. You look at the square. You give up and go to lunch. You come back. The empty square is still there. Is the square gonna be a poster? Will it be a branded sitcom, a radio spot, a website? You don't know. All you know is the square's still empty. So you both go through the brand stories you find online, on the client's website, what people are saying in the Amazon reviews. You go through the reams of material the account team left in your office. You discover the bourbon you're working on is manufactured in a little town with a funny name. You point this out to your partner. Your partner keeps staring out the window at some speck in the distance. (Or is that a speck on the glass? Can't be sure.) He says, “Oh.” Down the hallway, a phone rings. Paging through an industry magazine, your partner points out that every few months the distillers rotate the aging barrels a quarter turn. You go, “Hmm.” On some blog, you read how moss on trees happens to grow faster on the sides that face a distillery's aging house. Now that's interesting. You feel the shapeless form of an idea begin to bubble up from the depths. You poise your pencil over the page…and it all comes out in a flash of creativity. (Whoa. Someone call 911. Report a fire on my drawing pad 'cause I am SMOKIN' hot.) You put your pencil down, smile, and read what you've written. It's complete rubbish. You call it a day and slink out to see a movie. This process continues for several days, even weeks, and then one day, completely without warning, an idea just shows up at your door, all nattied up like a Jehovah's Witness. You don't know where it comes from. It just shows up. That's how you come up with ideas. Sorry, there's no big secret. That's basically the drill.

Napoleon, in subsequent years, while reviewing these scenes of his early conflicts, with characteristic eloquence and magnanimity, gave utterance to the following sentiments which, it is as certain as destiny, that the verdict of the world will yet confirm. "Pitt was the master of European policy. He held in his hands the moral fate of nations. But he made an ill use of his power. He kindled the fire of discord throughout the universe; and his name, like that of Erostratus, will be inscribed in history, amidst flames, lamentations, and tears. Twenty-five years of universal conflagration; the numerous coalitions that added fuel to the flame; the revolution and devastation of Europe; the bloodshed of nations; the frightful debt of England, by which all these horrors were maintained; the pestilential system of loans, by which the people of Europe are oppressed; the general discontent that now prevails—all must be attributed to Pitt. Posterity will brand him as a scourge. The man so lauded in his own time, will hereafter be regarded as the genius of evil. Not that I consider him to have been willfully atrocious, or doubt his having entertained the conviction that he was acting right. But St. Bartholomew had also its conscientious advocates. The Pope and cardinals celebrated it by a Te Deum ; and we have no reason to doubt their having done so in perfect sincerity. Such is the weakness of human reason and judgment! But that for which posterity will, above all, execrate the memory of Pitt, is the hateful school, which he has left behind him; its insolent Machiavelism, its profound immorality, its cold egotism, and its utter disregard of justice and human happiness. Whether it be the effect of admiration and gratitude, or the result of mere instinct and sympathy, Pitt is, and will continue to be, the idol of the European aristocracy. There was, indeed, a touch of the Sylla in his character. His system has kept the popular cause in check, and brought about the triumph of the patricians. As for Fox, one must not look for his model among the ancients. He is himself a model, and his principles will sooner or later rule the world. The death of Fox was one of the fatalities of my career. Had his life been prolonged, affairs would taken a totally different turn. The cause of the people would have triumphed, and we should have established a new order of things in Europe.

But a cursory review of ancient Egyptian literature suggests that the Egyptians of three thousand years ago were already keenly aware of the insubstantial nature of human achievement. These monuments, these tombs, these mummies were not necessarily meant to escape the passage of time but rather to provide future generations with a past they could find, a past whose shadow would loom over them and offer them guidance. As archaeologists continue to study ancient Egypt thousands of years later, the pharaohs continue to guide posterity and provide humanity with permanent symbols of history, in more impressive and far-reaching ways than even they could have planned.

It didn’t necessarily mean that he’d been awake all night washing away his mother’s blood. She looked under the bed and felt behind the wardrobe. No porn. No girlie posters on the walls. In fact there were no pictures on the walls at all, only a framed certificate from his catering course. What did he do for sex? Probably used the Internet, like most of the UK’s male population. It came to Vera that more than likely he was a virgin. In contrast, Miranda’s room was surprisingly big. Opulent and glamorous in an old-fashioned way. It held a double bed, piled with pillows and silk-covered cushions, in various shades of purple. These seemed to have been artfully arranged – another sign, Vera thought, that Miranda hadn’t been to bed the night before. There was a small wrought-iron grate, just for decoration now. Where the fire would once have been laid stood a candle in a big blue candle-holder, identical to the one on the table on the terrace. Was that significant? Vera tried to remember if she’d seen one like it in the main house. On one side of the chimneybreast, bookshelves had been built into the alcove, and on the other stood a big Victorian wardrobe. There was a dressing table with an ornate framed mirror under the window, and an upholstered stool in front of it. No PC. So what did Miranda do for sex? The question came, unbidden, into her head. Vera sat on the stool and gave a wry smile into the mirror. She knew her team had sometimes asked the same question about her. But not recently. As you got older, folk seemed to think you could do without. This is where Miranda would have sat to prepare herself to meet the residents. Again Vera was reminded of an ageing actress. Her dressing table was scattered with make-up. The woman hadn’t shared her son’s obsession with order and cleanliness. And beyond the mirror there was a view to the coast. It wasn’t possible to see the terrace from here – it was in the shadow of the big house. But the beach was visible. What had Miranda been thinking as she put on her face, as she brushed her hair and held it in place with spray? That her life as a writer was over? Or did she still hope for the big break, the posters on the Underground and the reviews in the Sunday papers? Was she still writing? It seemed to Vera that this question was so important, so fundamental, that she’d been a fool not to consider it before. If Miranda had written a new book, and Tony Ferdinand had offered to help her find a home for it, of course Miranda would be shattered to find him dead. The stabbed body would symbolize her shattered dreams. It wouldn’t be easy for a middle-aged