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" "I have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader's mind. [...] Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them. Thus X will never compose the immortal music that would clash with the second-rate symphonies he has accustomed us to. Y will never commit murder. Under no circumstances can Z ever betray us. We have it all arranged in our minds, and the less often we see a particular person, the more satisfying it is to check how obediently he conforms to our notion of him every time we hear of him. Any deviation in the fates we have ordained would strike us as not only anomalous but unethical. We could prefer not to have known at all our neighbor, the retired hot-dog stand operator, if it turns out he has just produced the greatest book of poetry his age has seen.
Vladimir Vladimirovich Nabokov (22 April (O.S. 10 April) 1899 – 2 July 1977) was a Russian-American writer. He wrote his first literary works in Russian, but gained international prominence as a masterly prose stylist for the novels he composed in English; his Lolita (1955) is frequently cited as one of the most important novels of the 20th century.
Biography information from Wikiquote
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I have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader's mind. No matter how many times we reopen 'King Lear,' never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert's father's timely tear. Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them.
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One evening at a remote provincial college through which I happened to be jogging on a protracted lecture tour, I suggested a little quiz — -ten definitions of a reader, and from these ten the students had to choose four definitions that would combine to make a good reader. I have mislaid the list, but as far as I remember the definitions went something like this.
Select four answers to the question what should a reader be to be a good reader:
1. The reader should belong to a book club.
2. The reader should identify himself or herself with the hero or heroine.
3. The reader should concentrate on the social-economic angle.
4. The reader should prefer a story with action and dialogue to one with none.
5. The reader should have seen the book in a movie.
6. The reader should be a budding author.
7. The reader should have imagination.
8. The reader should have memory.
9. The reader should have a dictionary.
10. The reader should have some artistic sense.
The students leaned heavily on emotional identification, action, and the social-economic or historical angle. Of course, as you have guessed, the good reader is one who has imagination, memory, a dictionary, and some artistic sense–-which sense I propose to develop in myself and in others whenever I have the chance.