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Authors have a greater right than any copyright, though it is generally unacknowledged or disregarded. They have a right to the reader's civility. There are favorable hours for reading a book, as for writing it, and to these the author has a claim. Yet many people think that when they buy a book they buy with it the right to abuse the author.

 

Henry Wadsworth Longfellow

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The author qua author is thereby also in the fortunate position of owing no one anything. I am referring to critics, reviewers, intermediaries, appraisers, etc., who in the literary world are just like the tailors, who in civil life “create the man”-they set the fashion of the author, the point of view of the reader. With their help and art, a book amounts to something. But then it is with these benefactors as, according to Baggesen, with the tailors: “In turn they slay people with bills for the creation.” One comes to owe them everything, yet without even being able to pay off this debt with a new book, because the importance of the new book, if it comes to have any, will in turn be due to the art and help of these benefactors.

 

Soren Aabye Kierkegaard

 

[On book reviewing] I will only turn down a book if I know I won't be able to muster enough interest to read the bloody thing. Or if I realize that I despise the author, and that I'm just going to become hysterical in my dispraise. A couple of times in my life I've disobeyed my own rule, and later regretted it. [...] It's a delicate business. All too often, if one writes a favorable notice, it's seen as a product of the old-boy network, and if one dispraises a book, it's seen as envy. Nobody seems able to accept that I review books as a book reviewer, not as a competing novelist. When I review, I'm being as honest as I can. And I'm saying to the reading public — the minuscule segment of the reading public that reads reviews — that this is my judgment.

 

John Banville

 

To say that an author is a reader or a reader an author, to see a book as a human being or a human being a book, to describe the world as text or a text as the world, are ways of naming the readers craft.

 

Alberto Manguel

 

Young girls sometimes make use of the expression: “Reading books to read one’s self.” They prefer a book that resents some resemblance to their own circumstances and experiences. It is true that we can never understand except through ourselves. Yet, when we want to understand a book, it should not be our aim to discover ourselves in that book, but to grasp clearly the meaning which its author has sought to convey through the characters presented in it. We reach through the book to the soul that created it. And when we have learned as much as this of the author, we often wish to read more of his works. We suspect that there is some connection running through the different things he has written and by reading his works consecutively we arrive at a better understanding of him and them. Take, for instance, Henrik Ibsen’s tragedy, “Ghosts.” This earnest and profound play was at first almost unanimously denounced as an immoral publication. Ibsen’s next work, “An Enemy of the People,” describes, as is well known the ill-treatment received by a doctor in a little seaside town when he points out the fact that the baths for which the town is noted are contaminated. The town does not want such a report spread; it is not willing to incur the necessary expensive reparation, but elects instead to abuse the doctor, treating him as if he and not the water were the contaminating element. The play was an answer to the reception given to “Ghosts,” and when we perceive this fact we read it in a new light. We ought, then, preferably to read so as to comprehend the connection between and author’s books. We ought to read, too, so as to grasp the connection between an author’s own books and those of other writers who have influenced him, or on whom he himself exerts an influence. Pause a moment over “An Enemy of the People,” and recollect the stress laid in that play upon the majority who as the majority are almost always in the wrong, against the emancipated individual, in the right; recollect the concluding reply about that strength that comes from standing alone. If the reader, struck by the force and singularity of these thoughts, were to trace whether they had previously been enunciated in Scandinavian books, he would find them expressed with quite fundamental energy throughout the writings of Soren Kierkegaard, and he would discern a connection between Norwegian and Danish literature, and observe how an influence from one country was asserting itself in the other. Thus, by careful reading, we reach through a book to the man behind it, to the great intellectual cohesion in which he stands, and to the influence which he in his turn exerts. p. 40-43

 

Georg Brandes

 

We can no longer expect the one big book, the single achievement, to be an author's claim to posterity's regard. We shall be more inclined to assess the stature of a novelist by his ability to create what the French call an oeuvre, to present fragments of an individual vision in book after book, to build, if not a War and Peace or Ulysses, at least a shelf.

 

Anthony Burgess