The loneliness of the expatriate is of an odd and complicated kind, for it is inseparable from the feeling of being free, of having escaped.
ADAM GOPNIKThe future will be like the past, in the sense that, no matter how amazing or technologically advanced a society becomes
More Adam Gopnik Quotes
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I try to turn a written thing, when I’m in trouble with it, into a spoken thing: I start imagining what I would say to someone if I were trying to tell the story or make the argument.
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The sin of capitalism, perhaps, is to make wants feel like needs, to give to simple silly stuff the urgency of near-physical necessity: I must have it.
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The future will be like the past, in the sense that, no matter how amazing or technologically advanced a society becomes
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I don’t miss the obligation to be opinionated, but I do regret the chance to share a joy.
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That they chose the path of the mind suggests that there is on it something more worthwhile than a circuitous route to the good things that the good-looking get just by showing up
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For all the years I’d spent talking about pictures, the truth was that I had no idea how to draw or what it felt like to do it. I
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We breathe in our first language, and swim in our second.
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The basic human rhythm of petty malevolence, sordid moneygrubbing, and official violence, illuminated by occasional bursts of loyalty or desire or tenderness, will go on.
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The past is so often unknowable not because it is befogged now but because it was befogged then, too, back when it was still the present.
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This alchemy, of self-absorption into shared experience, is the alchemy of all literature.
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We don’t know that we’ve lost half a minute from our lives but we feel it somehow, we feel its absence.
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Americans also seem to believe that the monarchy is a kind of mediaeval hangover, encumbered by premodern notions of decorum
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Something is missing, we think. And so we long for the thing we’ve missed and can’t name, and out of that wanting – well, everything else rises, good and bad.
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Making an idea into an emotion.
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Cooking is the showy side of domesticity.
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In the New Yorker library, I have long been shelved between Nadine Gordimer and Brendan Gill; an eerie little space nestled between high seriousness of purpose and legendary lightness of touch.
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Credibility’ is defined as the willingness to kill a lot of people now for a not very good cause to assure the world that we’ll kill a lot more people if we can find a better one.
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It’s really our relief at no longer having to do things we were never good at doing in the first place – relief at never again having to dissect a frog or memorize the periodic table.
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Often the block [in writing] comes from the wall of words that keep out the simplicity of sense.
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Good editorial writing has less to do with winning an argument, since the other side is mostly not listening, than with telling the guys on your side how they ought to sound when they’re arguing.
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That any troubles are simple misunderstandings, consequent on your not yet having spoken English loudly enough.
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Writing is the process of finding something to distract you from writing, and of all the helpful distractions – adultery, alcohol and acedia, all of which aided our writing fathers – none can equal the Internet.
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In an age of malice and bad faith on many sides, I reread White or Thurber or Mitchell and am reminded again that good writing is done, as I said in my elegy for Salinger, with an active eye and ear and an ardent heart, and in no other way.
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Daniel Levitin takes the most sophisticated ideas that exist about the brain and mind, applies them to the most emotionally direct art we have, our songs, and makes beautiful music of the two together.
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Paris, on the other hand, looked exactly as it was supposed to look. It wore its heart on its sleeve, and the strange thing was that the heart it wore so openly was in other ways so closed-mysterious, uninviting.
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I still think the best classic meal in New York is a coffee-shop breakfast – you sort of can’t skip it.
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