Book Binding Quotes

When I was a child, I loved 'The Marble Faun' by Nathaniel Hawthorne. The reason I liked it was because it had a beautiful binding. When you're a kid, you like books because they're pretty to look at, and this one had a white calfskin cover and gold edges. That was enough to make me love it.

The technology I like is the American paperback edition of 'Freedom.' I can spill water on it, and it would still work! So it's pretty good technology.

Though he had very little Latin beyond "Cave canem," he had, as a young dog, devoured Shakespeare (in a tasty leather binding).

I got to take classes in writing with a fountain pen, and actually, something you make is your own textbook. So, while you're learning about something, you have to write essays on it, and then you handwrite in cursive, in fountain pen, your essays out on beautiful paper and you bind it together into a book that you hand in at the end of the course.

Russell's books should be bound in two colours, those dealing with mathematical logic in red - and all students of philosophy should read them; those dealing with ethics and politics in blue - and no one should be allowed to read them.

Books are carefully folded forests/void of autumn/bound from the sun

I love the look of books published by the firm of Rupert Hart-Davis: They strike me as handsome, elegant, and inviting. I'll pick up almost anything with that imprint, especially if it's in a jacket or priced low.

In some respects the better a book is, the less it demands from the binding.

It's much more difficult to make an unbound book than a bound book, because the factories aren't set up to make an unbound book.

I had to learn to call book jackets 'jackets' rather than 'covers.'

Some books I've kept because the binding is beautiful - I'm unlikely ever to read my grandmother's copy of 'The Life of Lord Nelson.' I'm addicted to secondhand bookshops.

Yet I'm making a book and I'm going to care immensely about what words get bound in the pages, and I want the object to look good. I won't believe in it and it won't be real to me until there's a finished book I can hold.

Every book should begin with attractive endpapers. Preferably in a dark colour: dark red or dark blue, depending on the binding. When you open the book it's like going to the theatre. First you see the curtain. Then it's pulled aside and the show begins.

The paperback is very interesting but I find it will never replace the hardcover book - it makes a very poor doorstop.

I very much love a physical book myself. I think people who have had this experience of also seeing a book come together, from sitting down and writing the first word, to holding the binding in your hand, we have a deeper sentimental attachment to it than others might.

I do many kinds of work, and if you forbid me from binding books, from gardening, from writing poetry, from practicing walking meditation, from teaching children, I will be very unhappy. To me, work is pleasant. Pleasant or unpleaseant depends on our way of looking.

A book is really like a lover. It arranges itself in your life in a way that is beautiful. Even as a kid, my sister, who was the eldest, brought books home for me, and I think I spent more time sniffing and touching them than reading. I just remember the joy of the book, the beauty of the binding. The smelling of the interior. Happy.

Open the book. (The gilt rubs off the edges of the pages and pollinates the fingertips.)

How do you tell a valuable French book?' 'First there are the pictures. Then it is a question of the quality of the pictures. Then it is the binding. If a book is good, the owner will have it bound properly. All books in English are bound, but bound badly. There is no way of judging them.

This paperback is very interesting, but I find it will never replace a hardcover book - it makes a very poor doorstop.