"I don't plan to write another science book, but I don't plan not to. I do enjoy writing histories, and taking subjects that are generally dull and trying to make them interesting"
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Bryson’s genius here is the way he turns authorial ambition into a shrug you can trust. “I don’t plan to write another science book, but I don’t plan not to” reads like a joke about indecision, but it’s really a brand statement: he refuses the pieties of the Serious Writer who announces a “next project” as if it were a treaty. The double negative is a wink at the machinery of publishing and publicity, where every creative impulse is supposed to become a deliverable. Bryson’s stance is anti-mission. He’s not chasing a genre; he’s chasing curiosity.
The second line gives away the deeper craft ethic: “taking subjects that are generally dull and trying to make them interesting.” It’s a quiet rebuke to academic gatekeeping and to the idea that difficulty is synonymous with value. Bryson’s work, especially in books like A Short History of Nearly Everything, thrives on the premise that expertise doesn’t have to sound like punishment. He positions himself less as an authority than as a charismatic translator: someone willing to admit confusion, then do the legwork publicly.
Subtextually, he’s also defending pleasure as a legitimate motive. Writing histories isn’t presented as a civic duty; it’s described as enjoyment, a pastime elevated by meticulous reporting. The intent is modest, but the consequence is big: he makes “dull” subjects socially portable, turning scientific and historical literacy into something you can read on a train without feeling virtuous or bored. That accessibility isn’t accidental; it’s the point.
The second line gives away the deeper craft ethic: “taking subjects that are generally dull and trying to make them interesting.” It’s a quiet rebuke to academic gatekeeping and to the idea that difficulty is synonymous with value. Bryson’s work, especially in books like A Short History of Nearly Everything, thrives on the premise that expertise doesn’t have to sound like punishment. He positions himself less as an authority than as a charismatic translator: someone willing to admit confusion, then do the legwork publicly.
Subtextually, he’s also defending pleasure as a legitimate motive. Writing histories isn’t presented as a civic duty; it’s described as enjoyment, a pastime elevated by meticulous reporting. The intent is modest, but the consequence is big: he makes “dull” subjects socially portable, turning scientific and historical literacy into something you can read on a train without feeling virtuous or bored. That accessibility isn’t accidental; it’s the point.
Quote Details
| Topic | Writing |
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