The best moments in reading are when you come across something – a thought, a feeling, a way of looking at things – which you had thought special and particular to you. Now here it is, set down by someone else, a person you have never met, someone even who is long dead. And it is as if a hand has come out and taken yours.
Archbishop. Why do I never read the lesson?” “I beg your pardon, ma’am?” “In church. Everybody else gets to read and one never does. It’s not laid down, is it? It’s not off-limits?” “Not that I’m aware, ma’am.”“Good. Well in that case I’m going to start. Leviticus, here I come. Goodnight.” The archbishop shook his head and went back to Strictly Come Dancing.
Books and bookcases cropping up in stuff that I've written means that they have to be reproduced on stage or on film. This isn't as straightforward as it might seem. A designer will either present you with shelves lined with gilt-tooled library sets, the sort of clubland books one can rent by the yard as decor, or he or she will send out for some junk books from the nearest second-hand bookshop and think that those will do. Another short cut is to order in a cargo of remaindered books so that you end up with a shelf so garish and lacking of character it bears about as much of a relationship to literature as a caravan site does to architecture. A bookshelf is as particular to its owner as are his or her clothes; a personality is stamped on a library just as a shoe is shaped to the foot.
The appeal of reading, she thought, lay in its indifference: there was something undeferring about literature. Books did not care who was reading them or whether one read them or not. All readers were equal, herself included. Literature, she thought, is a commonwealth; letters a republic.