Quotes about reader
page 3

Don DeLillo photo
Alberto Manguel photo
E.M. Forster photo
Howard Pyle photo

“Will you come with me, sweet Reader? I thank you. Give me your hand.”

Source: The Merry Adventures of Robin Hood

John Hersey photo
Kate DiCamillo photo
Alice Hoffman photo
Dr. Seuss photo

“You have to be a speedy reader because there’s so so much to read.”

Dr. Seuss (1904–1991) American children's writer and illustrator, co-founder of Beginner Books

Source: I Can Read With My Eyes Shut!

John Ruskin photo

“Say all you have to say in the fewest possible words, or your reader will be sure to skip them; and in the plainest possible words or he will certainly misunderstand them.”

John Ruskin (1819–1900) English writer and art critic

A Joy for Ever, note 6 (1857).
Context: For certainly it is excellent discipline for an author to feel that he must say all he has to say in the fewest possible words, or his reader is sure to skip them; and in the plainest possible words, or his reader will certainly misunderstand them.

Ruth Ozeki photo
Toni Morrison photo
Jodi Picoult photo
Anna Quindlen photo
Owen Wister photo

“Forgive my asking you to use your mind. It is a thing which no novelist should expect of his reader…”

Owen Wister (1860–1938) American writer

Source: The Virginian: A Horseman of the Plains

Kate DiCamillo photo
Stephen King photo
Henry David Thoreau photo

“Readers are plentiful; thinkers are rare”

Henry David Thoreau (1817–1862) 1817-1862 American poet, essayist, naturalist, and abolitionist
Jorge Luis Borges photo
Anne Fadiman photo

“One of the convenient things about literature is that, despite copyrights […] a book belongs to the reader as well as to the writer.”

Anne Fadiman (1953) American essayist, journalist and magazine editor

Source: At Large and at Small: Familiar Essays

Arthur Conan Doyle photo
Meg Wolitzer photo
Ernest Hemingway photo
Charlotte Brontë photo
Luís de Camões photo

“Now let the judging reader mark what rex
The idol gold (which all the world adoreth)
Plays both in poor and rich: by money's thurst
All laws and ties (divine, and human) burst.”

Luís de Camões (1524–1580) Portuguese poet

Veja agora o juízo curioso
Quanto no rico, assim como no pobre,
Pode o vil interesse e sede inimiga
Do dinheiro, que a tudo nos obriga.
Stanza 96, lines 5–8 (tr. Richard Fanshawe)
Epic poetry, Os Lusíadas (1572), Canto VIII

John Irving photo
Edgar Rice Burroughs photo
George Pólya photo
Arthur Schopenhauer photo

“The philosophy of Kant, then, is the only philosophy with which a thorough acquaintance is directly presupposed in what we have to say here. But if, besides this, the reader has lingered in the school of the divine Plato, he will be so much the better prepared to hear me, and susceptible to what I say. And if, indeed, in addition to this he is a partaker of the benefit conferred by the Vedas, the access to which, opened to us through the Upanishads, is in my eyes the greatest advantage which this still young century enjoys over previous ones, because I believe that the influence of the Sanscrit literature will penetrate not less deeply than did the revival of Greek literature in the fifteenth century: if, I say, the reader has also already received and assimilated the sacred, primitive Indian wisdom, then is he best of all prepared to hear what I have to say to him. My work will not speak to him, as to many others, in a strange and even hostile tongue; for, if it does not sound too vain, I might express the opinion that each one of the individual and disconnected aphorisms which make up the Upanishads may be deduced as a consequence from the thought I am going to impart, though the converse, that my thought is to be found in the Upanishads, is by no means the case.”

:s:The World as Will and Representation/Preface to the First Edition
Kants Philosophie also ist die einzige, mit welcher eine gründliche Bekanntschaft bei dem hier Vorzutragenden gradezu vorausgesetzt wird. — Wenn aber überdies noch der Leser in der Schule des göttlichen Platon geweilt hat; so wird er um so besser vorbereitet und empfänglicher seyn mich zu hören. Ist er aber gar noch der Wohllhat der Veda's theilhaft geworden, deren uns durch die Upanischaden eröfneter Zugang, in meinen Augen, der größte Vorzug ist, den dieses noch junge Jahrhundert vor den früheren aufzuweisen hat, indem ich vermuthe, daß der Einfluß der Samskrit-Litteratur nicht weniger tief eingreifen wird, als im 14ten Jahrhundert die Wiederbelebung der Griechischen: hat also, sage ich, der Leser auch schon die Weihe uralter Indischer Weisheit empfangen und empfänglich aufgenommen; dann ist er auf das allerbeste bereitet zu hören, was ich ihm vorzutragen habe. Ihn wird es dann nicht, wie manchen Andern fremd, ja feindlich ansprechen; da ich, wenn es nicht zu stolz klänge, behaupten möchte, daß jeder von den einzelnen und abgerissenen Aussprüchen, welche die Upanischaden ausmachen, sich als Folgesatz aus dem von mir mitzutheilenden Gedanken ableiten ließe, obgleich keineswegs auch umgekehrt dieser schon dort zu finden ist.
Die Welt als Wille und Vorstellung. Leipzig 1819. Vorrede. pp.XII-XIII books.google https://books.google.de/books?id=0HsPAAAAQAAJ&pg=PR12
The World as Will and Representation (1819; 1844; 1859)

“Niven made a name for himself as a hard SF author, which is to say, someone whose SF provides enough technical detail that the reader can be certain that various mechanisms and events couldn't work the way the author has them working.”

James Nicoll (1961) Canadian fiction reviewer

review of All the Myriad Ways by Larry Niven http://jamesdavisnicoll.com/review/remember-when-niven-was-fun, 2015
2010s

Barend Cornelis Koekkoek photo

“In my opinion the aim of the painter is similar with that of the poet, insofar that both want to affect the feelings of the viewer or reader. As soon as their scenes.... are lacking the mark of nature, of truth, than both will fail to realize it. The Dutch painter feels - as well as the Germans do - the influence of sublime nature, but the Dutch painter first wants to be acquainted with 'plain truth', to combine it afterwards with the poetic..”

Barend Cornelis Koekkoek (1803–1862) painter from the Northern Netherlands

(original Dutch, citaat van B.C. Koekkoek:) Het doel van den schilder is, naar mijn wijze van zien, in zoverre met dat des dichters gelijk, dat beiden op het gevoel van den beschouwer of den lezer willen werken. Dit kunnen zij onmogelijk doen, zodra hunne taferelen.. ..den stempel der natuur, de waarheid missen.. .De Nederlandschee schilder gevoelt even goed als de Duitsche den invloed der verhevenen natuur, maar de Nederlander wil eerst met het 'eenvoudige ware' bekend zijn, om hetzelve later met dichterlijke te vereenigen..
Source: Herinneringen aan en Mededeelingen van…' (1841), p. 29-30

Will Eisner photo

“Maurice Joly: Your honor, I have not written a lampoon here…this book’s delineations are applicable to all governments!
Prosecutor: No, your honor.. this man has written a tract that barely conceals a horrid defamation of our emperor!!
Maurice Joly: No! No! No! This book provides a call to conscience…a perspective for citizens concerned about the harsh realities of the conditions in which they live…
Furthermore, my book shows how the despotism taught by Machiavelli in “The Prince” could, by artifice and evil ways, impose itself on our society.
Prosecutor: No, your honor. It does more than that… for by ‘’’using’’’ the despotism of Machiavelli’’’ asa comparison, Joly seeks to show that Bonaparte, our sovereign, and an evil Italian are ‘’’the same’’’ in thought and deed!
Maurice Joly: If the reader sees a relationship to the infamy of the emperor, am I to blame?
Judge: Maurice Joly, I charge you with the crime of defamation! Of suggesting through shameful means that our sovereign has led the public astray, degraded our nation and corrupted our morals! This is an infamy, sir!!
Judge: Therefore, Maurice Joly, this court sentences you to 15 months imprisonment.
Maurice Joly: This is unfair and an example of this despotic society under Louis Bonaparte!
Balif: Quiet! You’ve had your say!
Judge: The emperor’s police will immediately confiscate all copies of this book they can find!”

Will Eisner (1917–2005) American cartoonist

Source: The Plot: The Secret Story of the Protocols of the Elders of Zion (10/2/2005), pp.16-19

Husayn ibn Ali photo

“In a distant age and climate, the tragic scene of the death of Husein will awaken the sympathy of the coldest reader.”

Husayn ibn Ali (626–680) The grandson of Muhammad and the son of Ali ibn Abi Talib

Edward Gibbon, The Decline and Fall of the Roman Empire, vol. 2, p. 218 http://books.google.com/books?id=VvXSAAAAMAAJ&pg=PA218&dq=Edward+Gibbon+Hosein&hl=en&sa=X&ei=4eogT_7ZEZToiALbpIGBCA&ved=0CEkQ6AEwBA#v=onepage&q=hosein&f=false
Quotes by non-Muslims

Hendrik Werkman photo

“GRONINGEN, BERLIN, MOSCOW, PARIS 1923
Start of the violet season
Reader
As we are convinced that it is not too LATE, we will speak.
Time is running, honestly.... it has become necessary now to do something, before it is too late
There must be witnessing and speaking..
.. Art is everywhere. She is thrown us people on our jackets by the birds. In every infant with weak intestines, the latent seed is laid for an artist..
Our first publication will soon be published. We urgently invite you to become a fellow reader [of the upcoming art-magazine 'The Next Call'].... We count on your DEEDS in the white season with the black shadows..”

Hendrik Werkman (1882–1945) Dutch artist

version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands):
GRONINGEN, BERLIJN, MOSKAU, PARIJS 1923
Aanvang van het violette jaargetijde
Lezer..
..Aangezien wij dus overtuigd zijn dat het nog niet TE LAAT is, zullen wij spreken.
Het wordt tijd, waarachtig.. ..meer dan tijd dat er iets gedaan wordt.
Er MOET getuigd en gesproken worden.
….Kunst is overal. Zij wordt den mensch als het ware door de vogels op de jas geworpen. In elke zuigeling met zwakke ingewanden wordt de latente kiem gelegd voor een kunstenaar..
Ons eerste geschrift verschijnt binnenkort. Wij nodigen u dringend uit medelezer te worden.. [van het komende kunsttijdschrift ‘The Next Call'].. ..Wij rekenen op uwe DADEN in het witte jaargetijde met de zwarte schaduwen..
Quote from Werkman's Manifesto: ' Aanvang van het violette jaargetijde / Start of the violet season' - also known as 'Roze Pamflet / Pink Pamphlet', Sept. 1923; in the collection of Stedelijk Museum, Amsterdam (transl: Fons Heijnsbroek)
1920's

Amir Taheri photo

“When I asked Bhutto what he thought of Assad, he described the Syrian leader as “The Levanter.” Knowing that, like himself, I was a keen reader of thrillers, the Pakistani Prime Minister knew that I would get the message. However, it was only months later when, having read Eric Ambler’s 1972 novel The Levanter that I understood Bhutto’s one-word pen portrayal of Hafez Al-Assad. In The Levanter the hero, or anti-hero if you prefer, is a British businessman who, having lived in Syria for years, has almost “gone native” and become a man of uncertain identity. He is a bit of this and a bit of that, and a bit of everything else, in a region that is a mosaic of minorities. He doesn’t believe in anything and is loyal to no one. He could be your friend in the morning but betray you in the evening. He has only two goals in life: to survive and to make money… Today, Bashar Al-Assad is playing the role of the son of the Levanter, offering his services to any would-be buyer through interviews with whoever passes through the corner of Damascus where he is hiding. At first glance, the Levanter may appear attractive to those engaged in sordid games. In the end, however, the Levanter must betray his existing paymaster in order to begin serving a new one. Four years ago, Bashar switched to the Tehran-Moscow axis and is now trying to switch back to the Tel-Aviv-Washington one that he and his father served for decades. However, if the story has one lesson to teach, it is that the Levanter is always the source of the problem, rather than part of the solution. ISIS is there because almost half a century of repression by the Assads produced the conditions for its emergence. What is needed is a policy based on the truth of the situation in which both Assad and ISIS are parts of the same problem.”

Amir Taheri (1942) Iranian journalist

Opinion: Like Father, Like Son http://www.aawsat.net/2015/02/article55341622/opinion-like-father-like-son, Ashraq Al-Awsat (February 20, 2015).

Robert Crumb photo
Thomas Fuller (writer) photo
Theodore Dalrymple photo
Robert Chambers (publisher, born 1802) photo
Jerry Coyne photo

“Come on, readers, give me one example of a question that religion has answered to everyone’s satisfaction—one example of a “truth” found in religion’s quest for truth.”

Jerry Coyne (1949) American biologist

" Do both science and faith produce truth? http://whyevolutionistrue.wordpress.com/2012/08/11/do-both-science-and-faith-produce-truth/" August 11, 2012

C. D. Broad photo

“Those who, like the present writer, never had the privilege of meeting Sidgwick can infer from his writings, and still more from the characteristic philosophic merits of such pupils of his as McTaggart and Moore, how acute and painstaking a thinker and how inspiring a teacher he must have been. Yet he has grave defects as a writer which have certainly detracted from his fame. His style is heavy and involved, and he seldom allowed that strong sense of humour, which is said to have made him a delightful conversationalist, to relieve the uniform dull dignity of his writing. He incessantly refines, qualifies, raises objections, answers them, and then finds further objections to the answers. Each of these objections, rebuttals, rejoinders, and surrejoinders is in itself admirable, and does infinite credit to the acuteness and candour of the author. But the reader is apt to become impatient; to lose the thread of the argument: and to rise from his desk finding that he has read a great deal with constant admiration and now remembers little or nothing. The result is that Sidgwick probably has far less influence at present than he ought to have, and less than many writers, such as Bradley, who were as superior to him in literary style as he was to them in ethical and philosophical acumen. Even a thoroughly second-rate thinker like T. H. Green, by diffusing a grateful and comforting aroma of ethical "uplift", has probably made far more undergraduates into prigs than Sidgwick will ever make into philosophers.”

C. D. Broad (1887–1971) English philosopher

From Five Types of Ethical Theory (1930)

Michael Chabon photo
M. R. James photo

“A ghost story of which the scene is laid in the twelfth or thirteenth century may succeed in being romantic or poetical: it will never put the reader into the position of saying to himself: "If I'm not careful, something of this kind may happen to me!"”

M. R. James (1862–1936) British writer

Preface to More Ghost Stories of an Antiquary (1911); cited from Michael Cox (ed.) Casting the Runes and Other Ghost Stories (Oxford: Oxford University Press, 1998) pp. 337-8.

Rob Pike photo
Hisham Matar photo
John Updike photo
Maddox photo

“Most of the screen on a blog is blank for an imaginary populace of readers still using 640x480 resolution. I didn't buy a 19" monitor to have 50% of its screen realestate pissed away on firing white pixels, you assholes.”

Maddox (1978) American internet writer

If these words were people, I would embrace their genocide http://www.thebestpageintheuniverse.net/c.cgi?u=banish.
The Best Page in the Universe

Nicolas Boileau-Despréaux photo

“But satire, ever moral, ever new,
Delights the reader and instructs him, too.
She, if good sense refine her sterling page,
Oft shakes some rooted folly of the age.”

Nicolas Boileau-Despréaux (1636–1711) French poet and critic

La satire, en leçons, en nouveautés fertile,
Sait seule assaisonner le plaisant et l'utile,
Et, d'un vers qu'elle épure aux rayons du bons sens,
Détromper les esprits des erreurs de leur temps.
Satire 9
Satires (1716)

Will Eisner photo
Walter Benjamin photo

“If the original does not exist for the reader's sake, how could the translation be understood on the basis of this premise?”

Walter Benjamin (1892–1940) German literary critic, philosopher and social critic (1892-1940)

Besteht das Original nicht um dessentwillen, wie ließe sich dann die Übersetzung aus dieser Beziehung verstehen?
The Task of the Translator (1920)

Edward Gibbon photo

“In a distant age and climate the tragic scene of the death of Hussyn will awaken the sympathy of the coldest reader.”

Edward Gibbon (1737–1794) English historian and Member of Parliament

Vol. 5, pages:391–392.
The Decline And Fall Of The Roman Empire: Volume 1 (1776)

Shelly Kagan photo
William Dalrymple photo

“…modern poetry is necessarily obscure; if the reader can’t get it, let him eat Browning…”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“Changes of Attitude and Rhetoric in Auden’s Poetry”, p. 149
The Third Book of Criticism (1969)

Walter Scott photo
Benito Mussolini photo
Akira Toriyama photo
Boris Johnson photo

“Some readers will no doubt say that a devil is inside me; and though my faith is a bit like Magic FM in the Chilterns, in that the signal comes and goes, I can only hope that isn't so.”

Boris Johnson (1964) British politician, historian and journalist

"What's so funny about the Passion?", Daily Telegraph, 4 March 2004, p. 24.
2000s, 2004

Ba Jin photo

“I've lived on royalties all my life. It is the readers who have supported me.”

Ba Jin (1904–2005) Chinese novelist

"Chinese Modern Literature Laureate Expected to Become Centenarian" in People's Daily (13 August 2001) http://english.peopledaily.com.cn/english/200108/13/eng20010813_77134.html

Ray Kurzweil photo

“One of the advantages of being in the futurism business is that by the time your readers are able to find fault with your forecasts, it is too late for them to ask for their money back.”

Ray Kurzweil (1948) Author, scientist, inventor, and futurist

Ray Kurzweil: The Library Journal, The virtual book revisited http://www.kurzweilai.net/the-virtual-book-revisited

John Napier photo

“Here then (belove reader) thou hast this work devided into two treatises, the first is the said introduction and reasoning, for investigation of the true sense of every cheife Theological tearme and date contained in the Revelation, whereby, not onely is it opened, explained and interpreted, but also that same explanation and interpretation is proved, confirmed and demonstrated, by evidente proofe and coherence of scriptures, agreeable with the event of histories. The seconde is, the principall treatise, in which the whole Apocalyps, Chapter by chapter, Verse by verse, and Sentence by sentence, is both Paraphrastically expounded and Historically applyed. …And because this whole work of Revelation concerneth most the discoverie of the Antichristian and Papisticall kingdome, I have therefore (for removing of all suspition) in al histories and prophane matters, taken my authorities and cited my places either out of Ethnick auctors, or then papistical writers, whose testimonies by no reason can be refuted against themselves. But in matters of divinitie, doctrine & interpretation of mysteries (leaving all opinions of men) I take me onely to the interpretation and discoverie thereof, by coherence of scripture, and godly reasons following thereupon; which also not only no Papist, but even no Christian may justly refuse. And forasmuch as our scripturs herein are of two fortes, the one our ordinary text, the other extraordinary citations; In our ordinary text, I follow not altogether the vulgar English translation, but the best learned in the Greek tong, so that (for satisfying the Papists) I differ nothing from their vulgar text of S. Jerome, as they cal it, except is such places, where I prove by good reasons, that hee differeth from the Original Greek. In the extraordinary texts of other scriptures cited by me, I followe ever Jeromes latine translation, where any controverse stands betwixt us and the Papists, and that moveth me in divers places to insert his very latine text, for their cause, with the just English thereof, for supply of the unlearned.”

John Napier (1550–1617) Scottish mathematician

A Plaine Discovery of the Whole Revelation of St. John (1593)

Nassim Nicholas Taleb photo
Vitruvius photo
Daniel Dennett photo
Samuel Johnson photo

“Paradise Lost' is one of the books which the reader admires and lays down, and forgets to take up again. None ever wished it longer than it is.”

Samuel Johnson (1709–1784) English writer

The Life of Milton
Lives of the English Poets (1779–81)

Charles Hamilton (writer) photo

“The business of a boys' author is not to consider political issues, but to entertain the readers, make them as happy as possible.”

Charles Hamilton (writer) (1876–1961) English writer of school stories

Oxford Companion to Children's Literature: "Charles Hamilton" (pages 235-7)

Joseph Addison photo
Charlie Brooker photo

“Newspapers chiefly exist to spooned the opinions of their readers back to them, much like an arse to mouth hosepipe.”

Charlie Brooker (1971) journalist, broadcaster and writer from England

2013 Wipe
Weekly Wipe

Thomas Carlyle photo
Russell Hoban photo
Martha Stewart photo
Joseph Addison photo
Alberto Manguel photo
Évariste Galois photo

“… an author never does more damage to his readers than when he hides a difficulty.”

Évariste Galois (1811–1832) French mathematician, founder of group theory

... un auteur ne nuit jamais tant à ses lecteurs que quand il dissimule une difficulté.
in the preface of Deux mémoires d'Analyse pure, October 8, 1831, edited by [Jules Tannery, Manuscrits de Évariste Galois, Gauthier-Villars, 1908, 27]

Neal Stephenson photo
Alberto Manguel photo
Lorin Morgan-Richards photo
Cory Doctorow photo
Willa Cather photo
John Robert Seeley photo

“The newspaper fits the reader’s program while the listener must fit the broadcaster’s program.”

Kingman Brewster, Jr. (1919–1988) American diplomat

The Enduring American Press (October 1964) edited by The Hartford Courant

Frank Harris photo

“I am, really, a great writer; my only difficulty is in finding great readers.”

Frank Harris (1856–1931) Irish journalist and rogue

Quoted in George Jean Nathan The World of George Jean Nathan (1952) p. 252.

Ronald Fisher photo
Alberto Manguel photo
Edgar Rice Burroughs photo
Alberto Manguel photo
S. I. Hayakawa photo
Stephen King photo