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Drawing is one of those things which sit on the uneasy bending line between instinct and instruction, where seeming perversity eventually trumps pleasure as the card players and the kibitzers interact and new thrills are sought.

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We’ve had mass shootings in the United States in the part of violent antiabortion protesters, in the part of violent pro-ISIS militants.
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Of all the unexpected things in contemporary literature, this is among the oddest: that kids have an inordinate appetite for very long, very tricky, very strange books about places that don’t exist…
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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, you could conclude mordantly, is the real soundtrack of our time: the amplification of the self-evident toward the creation of paralyzing, preëmptive paranoia.
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There are two kinds of travelers. There is the kind who goes to see what there is to see, and the kind who has an image in his head and goes out to accomplish it.
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Would mistrust a poetry critic who couldn’t produce a rhyming couplet. Could one write about art without knowing how to draw?
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Drawing need not be the bones of art, but skill must always be the skeleton of accomplishment.
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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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Going to a restaurant is one of my keenest pleasures. Meeting someplace with old and new friends, ordering wine, eating food, surrounded by strangers
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