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" "My whole life I have been waving the names of writers, as if we needed rescue. From these writers, for almost 50 years, I have received narrative, witness, companionship, sanctuary, shock, and steely strangeness; good advice, bad news, deep chords, hurtful discrepancy, and amazing grace. At an average of five books a week, not counting all those sighed at and nibbled on before they go to the Strand, I will read 13,000. Then I'm dead. Thirteen thousand in a lifetime, about as many as there are new ones published every month in this country. It's not enough, and yet rich to excess. The books we love, love us back. In gratitude, we should promise not to cheat on them — not to pretend we're better than they are; not to use them as target practice, agit-prop, trampolines, photo ops or stalking horses; not to sell out scruple to that scratch-and-sniff info-tainment racket in which we posture in front of experience instead of engaging it, and fidget in our cynical opportunism for an angle, a spin, or a take, instead of consulting compass points of principle, and strike attitudes like matches, to admire our wiseguy profiles in the mirrors of the slicks. We are reading for our lives, not performing like seals for some fresh fish.
John Leonard (February 25 1939 – November 5 2008) was an American literary, TV, film and cultural critic.
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I am often wrong. For example, I liked Cop Rock, voted for Nader, and used to think that the preeminent philosophical question of the late twentieth century was whether the government intelligence agency or the semiattached policy-studies think tank represented America's best hope for a viable pluralism. But I may be right, after all, about Stephen King and Walt Disney. No matter how often King shows up on ABC, they haven't yet figured out how to merchandise his dread, how to turn his intuitions and intimations into action figures and fast-food tie-ins and Davy Crockett coonskin caps. It's homemade versus mass-manufactured; bootleg versus theme park; Cujo versus Mickey Mouse.
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The magaicians of the 19th century, enthralled by the science of optics, photography and electricity, opened the door to motion pictures and thereby rendered themselves obsolete. Any amateur with a pair of scissors can cut and edit a strip of film in order to make a woman vanish, sever a head, burn a body down to the skeleton and reverse time. Talent went out of style.… People either didn't believe Houdini when he said that his tricks on film were real, or they didn't care. Illusion became big bigness, and the magicians were out of work.