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One battle doesn't make a campaign but critics treat one book, good or bad, like a whole goddamn war.

 

Ernest Hemingway

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I have not written a book since the campaign. I did not write this book at all. It is the result of the editorial literary skill of Mr. William Bayard Hale, who has put together here in their right sequences the more suggestive portions of my campaign speeches.
And yet it is not a book of campaign speeches. It is a discussion of a number of very vital subjects in the free form of extemporaneously spoken words. I have left the sentences in the form in which they were stenographically reported. I have not tried to alter the easy-going and often colloquial phraseology in which they were uttered from the platform, in the hope that they would seem the more fresh and spontaneous because of their very lack of pruning and recasting.

 

(Thomas) Woodrow Wilson

 

Audiences and critics acknowledge that a play or concerto gains force in great rendition. A good play may overcome bad staging. A great concerto may survive a poor soloist. But it is naturally assumed that a more accomplished performance intensifies the impact of the work. The play's text or concerto's score does not change, but the right actors and musicians help realize its full potential. Among contemporary literary critics, however, one never encounters this notion in regard to books and printing. To recognize the sensual contributions of the physical elements of a book is somehow assumed to demean the spiritual purity of the text. To notice the book itself smacks of philistinism, and to make distinctions based on paper, binding, and typography brings accusations of elitism or decadence.

 

Dana Gioia

 

It is not that addresses at the opening of a battle make the soldiers brave. The old veterans scarcely hear them, and recruits forget them at the first boom of the cannon. Their usefulness lies in their effect on the course of the campaign, in neutralizing rumors and false reports, in maintaining a good spirit in the camp, and in furnishing matter for camp-fire talk. The printed order of the day should fulfill these different ends.

 

Napoleon Bonaparte

 

Here’s something you don’t hear said about many movie critics: people love Roger Ebert. ... There’s a good reason for this: Ebert doesn’t stand between moviegoers and the audience. Rather, his regular readers are serious movie-lovers who see him as their rep, the guy out there fighting to make movies less stupid, more entertaining, more intelligent, more everything. You don’t have to agree with him — and I certainly didn’t in this book, when he ragged on Team America and Jesus is Magic, two movies where I laughed myself sick — to know that he’s on your side. He sees the bad movies so you don’t have to, and he’s seen the same ones over and over. ... Mere bile, though, isn’t his game; he’s as interested in why movies fail as why they work. A lot of the time, it’s obvious: because it’s made by morons for morons. In these cases, Ebert drags us through the plot in as entertaining a fashion as possible. ... Forty years on, he’s still a moviegoer’s best friend.

 

Roger Ebert

 

I don't know if Native Son is a good book or a bad book. And I don't know if the book I'm working on now will be a good book or a bad book. And I really don't care. The mere writing of it will be more fun and a deeper satisfaction than any praise or blame from anybody. I feel that I'm lucky to be alive to write novels today, when the whole world is caught in the pangs of war and change.

 

Richard Wright