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The book, as it stands, seems to me to be one of the most frightful muddles I have ever read, with scarcely a sound proposition in it beginning with page 45, and yet it remains a book of some interest, which is likely to leave its mark on the mind of the reader. It is an extraordinary example of how, starting with a mistake, a remorseless logician can end up in bedlam.
--
John Maynard Keynes, in Collected Works, vol. XII on Hayek's Prices and Production (1931); Hayek provided historical background up to page 45, after that came his theoretical model.

 

Friedrich Hayek

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The book, as it stands, seems to me to be one of the most frightful muddles I have ever read, with scarcely a sound proposition in it beginning with page 45 [Hayek provided historical background up to page 45; after that came his theoretical model], and yet it remains a book of some interest, which is likely to leave its mark on the mind of the reader. It is an extraordinary example of how, starting with a mistake, a remorseless logician can end up in bedlam.

 

John Maynard Keynes

 

Beginning a book is unpleasant. I’m entirely uncertain about the character and the predicament, and a character in his predicament is what I have to begin with. Worse than not knowing your subject is not knowing how to treat it, because that’s finally everything. I type out beginnings and they’re awful, more of an unconscious parody of my previous book than the breakaway from it that I want. I need something driving down the center of a book, a magnet to draw everything to it—that’s what I look for during the first months of writing something new. I often have to write a hundred pages or more before there’s a paragraph that’s alive. Okay, I say to myself, that’s your beginning, start there; that’s the first paragraph of the book. I’ll go over the first six months of work and underline in red a paragraph, a sentence, sometimes no more than a phrase, that has some life in it, and then I’ll type all these out on one page. Usually it doesn’t come to more than one page, but if I’m lucky, that’s the start of page one. I look for the liveliness to set the tone. After the awful beginning come the months of freewheeling play, and after the play come the crises, turning against your material and hating the book.

 

Philip Roth

 

The house was quiet and the world was calm.
The reader became the book; and summer night
Was like the conscious being of the book.
The house was quiet and the world was calm.
The words were spoken as if there was no book,
Except that the reader leaned above the page,
Wanted to lean, wanted much most to be
The scholar to whom the book is true, to whom
The summer night is like a perfection of thought.
The house was quiet because it had to be.
The quiet was part of the meaning, part of the mind:
The access of perfection to the page.
And the world was calm. The truth in a calm world,
In which there is no other meaning, itself
Is calm, itself is summer and night, itself
Is the reader leaning late and reading there.

 

Wallace Stevens

 

Few things leave a deeper mark on a reader than the first book that finds its way into his heart. Those first images, the echo of words we think we have left behind, accompany us throughout our lives and sculpt a palace in our memory to which, sooner or later--no matter how many books we read, how many worlds we discover or how much we learn or forget--we will return.

 

Carlos Ruiz Zafon

 

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