Quotes of All Topics . Occasions . Authors
What’s old doesn’t need to be old-fashioned. It gets reborn.
As the planet warms, evolution speeds. We've known this for a long time.
Reporting provides reminders that things are always more complicated than you think.
It is a curious fact that the word essayist showed up in English before it existed in French.
It is a curious fact that the word 'essayist' showed up in English before it existed in French.
I'm just saying, take courage. That and pretty much that alone is never the incorrect thing to do.
A good writer wants from us — or has no right to ask more than — intelligence, good faith and time.
We live in such constant nearness to the abyss of past time that the moment is endlessly sucked into.
Freaky things happen all the time in the world. I suppose everything has to happen for the first time at some point.
The city of Cork - the urban center, where all the shops and bars and everything are - is actually an island, a river island.
Not watching TV gets me in a lot of trouble in my household because my wife and daughter have a lot of shows they like to watch.
Ireland starts for me with the end of The Dead, which my father read to me from his desk in his basement office in New Albany, Ind.
Ireland starts for me with the end of 'The Dead,' which my father read to me from his desk in his basement office in New Albany, Ind.
At GQ, there was never a temptation to pander or preach to the choir because I had no concept of who the reader was or what that reader might want.
At 'GQ,' there was never a temptation to pander or preach to the choir because I had no concept of who the reader was or what that reader might want.
I want to stay in touch with what I have in common with my subjects, with the places where are equally implicated with whatever is wrong with the culture.
There's a half-conscious state you enter when you're actually generating prose, and you are simply a better writer in that place. In fact it's the only place where you even are a writer.
I'm a passionate believer in revision, and a lot of my writing gets done during revision process. It isn't just tweaking: I tend to break it apart and remake it every time I do a new draft.
This to me is the secret comedy of all author interviews, down through the ages, even the good ones in the 'Paris Review' and places. They're all acting. It's like watching a person in a play.
I don't read a lot of books that were published after 1755. One thing about having friends in New York who belong to the literary world, however, is that I have a steady stream of books coming to the house.
The initial research will be very indiscriminate. I do a lot of reading, buy a stack of books and read and digest them, and then I start doing phone interviews and archival research and then the travelling.
The justification for rap rock seems to be that if you take really bad rock and put really bad rap over it, the result is somehow good, provided the raps are barked by an overweight white guy with cropped hair and forearm tattoos.
Going to any place that you view as more politically oppressed than your own country, there's a weird tendency to assume that the whole existence is determined minute by minute by the political reality, but of course, that's not the case for any of us.
This is why you can never reason true Christians out of the faith. It's not, as the adage has it, because they were never reasoned into it - many were - it's that faith is a logical door which locks behind you. What looks like a line of thought is steadily warping.
I think empathy is a guy who punches you in the face at a bus station, and you're somehow able to look at that him and know enough about what situation he was in to know that he had to do that and not to hit back. That's empathy, and nothing ever happens in writing that has that kind of moral heroism about it.
The greenness of Ireland is a false greenness, after all. Not that it isn't green - the place can still make you have to pull off and swallow one of your heart pills. It's that the greenness doesn't mean what it seems. It doesn't encode a pastoral past, much less a timeless vale where wee folk trip the demesne.
One of the best things I’ve read about that inexplicably, but endlessly, fascinating group of people, the so-called Serious Collectors of 78s. Petrusich burrows into not just their personalities but the hunger that unites and drives their obsessions. She writes elegantly, and makes you think, and most important manages to hang onto her skepticism in the midst of her own collecting quest.
There is no ideal length, but you develop a little interior gauge that tells you whether or not you're supporting the house or detracting from it. When a piece gets too long, the tension goes out of it. That wordtensionhas an animal insistence for me. A piece of writing rises and falls with tension. The writer holds one end of the rope and the reader holds the other endis the rope slack, or is it tight? Does it matter to the reader what the next sentence is going to be?