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In anything fit to be called by the name of reading, the process itself should be absorbing and voluptuous; we should gloat over a book, be rapt clean out of ourselves, and rise from the perusal, our mind filled with the busiest, kaleidoscopic dance of images, incapable of sleep or of continuous thought. The words, if the book be eloquent, should run thenceforward in our ears like the noise of breakers, and the story, if it be a story, repeat itself in a thousand coloured pictures to the eye.
--
A Gossip on Romance, printed in Longman's Magazine (November 1882).

 

Robert Louis Stevenson

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“How then?” Taran asked. “Could The Book of Three deceive you?”
“No, it could not.” Dallben said. “The book is thus called because it tells all three parts of our lives: the past, the present, and the future. But it could as well be called a book of ‘if.’ If you had failed at your tasks; if you had followed an evil path; if you had been slain; if you had not chosen as you did — a thousand ‘ifs,’ my boy, and many times a thousand. The Book of Three can say no more than ‘if’ until at the end, of all things that might have been, one alone becomes what really is. For the deeds of a man, not the words of a prophecy, are what shape his destiny.”

 

Lloyd Alexander

 

I love computer graphics, but every system I've seen to try to turn programming into pictures has lost that syntactic element. There's something about syntax that makes it very precise for reading. I love photography. A photograph will tell a story. But words tell a story even better. Words are more versatile. You can paint a verbal picture that's much richer than you can photograph.

 

Ward Cunningham

 

This book is in every way except actual authorship Alice Toklas's book; it reflects her mind, her language, her private view of Gertrude, also her unique narrative powers. Every story in it is told as Alice herself had always told it. ... Every story that ever came into the house eventually got told in Alice's way, and this was its definitive version.

 

Gertrude Stein

 

Some years ago, I wrote a book called The Emperor's New Mind and that book was describing a point of view I had about consciousness and why it was not something that comes about from complicated calculations. So we are not exactly computers. There's something else going on and the question of what this something else was would depend on some detailed physics and so I needed chapters in that book, which describes the physics as it is understood today. Well anyway, this book was written and various people commented to me and they said perhaps I could use this book for a course Physics for Poets or whatever it is if it didn't have all that contentious stuff about the mind in that. So I thought, well, that doesn't sound too hard, all I'll do is get out the scissor out and snip out all the bits, which have something to do with the mind. The trouble is that if I did that — and I actually didn't do it — the whole book fell to pieces really because the whole driving force behind the book was this quest to find out what could it be that constitutes consciousness in the physical world as we know it or as we hope to know it in future

 

Roger Penrose

 

Reading is an active and elusive experience. Every reader, reading exactly the same text, will have a slightly different reading experience depending on what s/he projects into the words s/he sees, what strings of meaning and association those words call up in his/her (always) private mind. One can never therefore, talk about the quality of a book separately from the quality of the mind that is creating it by reading it, in the only place books live, in the secret mind.

 

Lois McMaster Bujold