Poetry is a rhythmical piece of writing that leaves the reader feeling that life is a little richer than before, a little more full of wonder, beauty, or just plain delight.
I may be permitted, kind reader, to doubt whether you have ever been enclosed in a glass bottle, unless some vivid dream has teased you with such magical mishaps.
There should be two main objectives in ordinary prose writing: to convey a message and to include in it nothing that will distract the reader's attention or check his habitual pace of reading - he should feel that he is seated at ease in a taxi, not riding a temperamental horse through traffic.
In the end, my reasons for moving down the timeline and introducing a new cast have more to do with keeping myself entertained, on the assumption that if I get bored, my readers are going to be even more bored.
The things I write are for those who are willing to accept a new relationship between the reader and the author.
Some men are one thing on the surface and another underneath. The true poet shows not just the exterior of his subject, but all the contradictions within, and lets the reader draw his own conclusions.
This will surprise some of your readers, but my primary interest is not with computer security. I am primarily interested in writing software that works as intended.
I think people enjoy a series. When you like a story, many readers want more of the same, which is dandy, if the author and the characters have more to say.
Ben Farmer brings a legend to life in Evangeline, evoking with grace and panache the travails of the Acadians in mid-eighteenth century America from Nova Scotia to New Orleans. Farmer is a wonderful storyteller, and readers won't soon forget this tale of love and fortitude. Simply riveting.
The world is changing, but I am not changing with it. There is no e-reader or Kindle in my future. My philosophy is simple: Certain things are perfect the way they are. The sky, the Pacific Ocean, procreation and the Goldberg Variations all fit this bill, and so do books. Books are sublimely visceral, emotionally evocative objects that constitute a perfect delivery systemBooks that we can touch; books that we can smell; books that we can depend on. Books that make us believe, for however short a time, that we shall all live happily ever after.
I would go out into the desert. The desert was my teacher. I didn't know about gurus and wise people-I wasn't a reader.
Poems infatuated with their own smarts and detached from any emotional grounding can leave the reader feeling lonely, empty and ashamed for having expected more. Like icy adolescents, such poetry is more interested in commiserating than acknowledging that feelings — the sentiments that make us susceptible to sentimentality — actually exist.
I don't think the author should make the reader do that much work to remember who somebody is.
In fantasy stories we learn to understand the differences of others, we learn compassion for those things we cannot fathom, we learn the importance of keeping our sense of wonder. The strange worlds that exist in the pages of fantastic literature teach us a tolerance of other people and places and engender an openness toward new experience. Fantasy puts the world into perspective in a way that 'realistic' literature rarely does. It is not so much an escape from the here-and-now as an expansion of each reader's horizons.
I surrender to the world of my imagination, reenacting all those wonderful tales my father would read aloud to me. I became a very active reader, especially history and Shakespeare.
The mystic cannot wholly do without symbol and image, inadequate to his vision though they must always be: for his experience must be expressed if it is to be communicated, and its actuality is inexpressible except in some hint or parallel which will stimulate the dormant intuition of the reader.
If modesty and candor are necessary to an author in his judgment of his own works, no less are they in his reader.
Fairy tales are experienced by their hearers and readers, not as realistic, but as symbolic poetry.
Some critics of my work took the view that a satirist should defer to the finer feelings of his readers and respect widely held beliefs.
Based on personal experience and not just on theory, Prayerwalk, offers readers practical insights on how to get up, get moving, and get praying. The results can be life changing.
We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life "outside" the story changes the story.
Im like the painter with his nose to the canvas, fussing over details. Gazing from a distance, the reader sees the big picture.
I have been writing for 50 years and readers still read my first book from when I was in the Marine Corps.
I was quite a reader before I became a writer.
The real tight interface is between the book and the reader-the world of the book is plugged right into your brain, never mind the [virtual reality] bodysuit.
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