“[I]t's guilty of the very thing that makes kids hate history as a subject when it's taught badly: The Da Vinci Code makes the past feel like a dull, grainy, faraway thing, instead of something vibrant and alive.”

Source: We Were Liars

Martson, Pitkin, The Art of Sound Pictures (1929), p. vi; Jill Lepore, The Secret History of Wonder Woman (2014), p. 140.

Book II, Ch. 12: Apology for Raimond Sebond
Essais (1595), Book II
Context: Great abuses in the world are begotten, or, to speak more boldly, all the abuses of the world are begotten, by our being taught to be afraid of professing our ignorance, and that we are bound to accept all things we are not able to refute: we speak of all things by precepts and decisions. The style at Rome was that even that which a witness deposed to having seen with his own eyes, and what a judge determined with his most certain knowledge, was couched in this form of speaking: “it seems to me.” They make me hate things that are likely, when they would impose them upon me as infallible.

Source: A Long Way Down

On his ambitions as a youth, in an Academy of Achievement interview (28 October 2000) http://www.achievement.org/autodoc/page/gor0int-1
1990s

Source: Change of Heart

As quoted in "Doom and glory of knowing who you are" by Jane Howard, in LIFE magazine, Vol. 54, No. 21 (24 May 1963), p. 89 https://books.google.com/books?id=mEkEAAAAMBAJ; a part of this statement has often been quoted as it was paraphrased in The New York Times (1 June 1964):
Context: You think your pain and your heartbreak are unprecedented in the history of the world, but then you read. It was Dostoevsky and Dickens who taught me that the things that tormented me most were the very things that connected me with all the people who were alive, or who ever had been alive. Only if we face these open wounds in ourselves can we understand them in other people. An artist is a sort of emotional or spiritual historian. His role is to make you realize the doom and glory of knowing who you are and what you are. He has to tell, because nobody else can tell, what it is like to be alive.

Paris Review interview (1958)
Context: From things that have happened and from things as they exist and from all things that you know and all those you cannot know, you make something through your invention that is not a representation but a whole new thing truer than anything true and alive, and you make it alive, and if you make it well enough, you give it immortality. That is why you write and for no other reason that you know of. But what about all the reasons that no one knows?