A Quote by Edmund White
New York has been the subject of thousands of books. Every immigrant group has had its saga as has every epoch and social class.
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Any New York group can come to L.A. and sell out every show, but an L.A. group who goes to New York might not do the same because the audience hasn't been introduced to the group.
DiMaggio was never a rube. He was very smart and very urban. Coming out of the Great Depression, he was the immigrant boy who made it big. Coming back from World War II, he had all the wealth and power that New York aspired to. When New York saw itself as the center of the world, he was its paragon of class.
in our culture, the professional, and largely white, middle class is taken as a social norm - a bland and neutral mainstream - from which every other group or class is ultimately a kind of deviation.
I'm in New York a lot. And every time I'm in New York, I'm out every night - it's a bit much. After a week, I'm ready to go home.
What I'd like to see is a private [healthcare] system without the artificial lines around every state. I have a big company with thousands and thousands of employees. And if I'm negotiating in New York or in New Jersey or in California, I have like one bidder. Nobody can bid.Because the insurance companies are making a fortune because they have control of the politicians.
I've been trained in dancing and I used to be quite good, though I am a bit rusty right now. But I could probably brush up in a couple of months. The funny thing is that I actually took classes from Savion Glover, who worked in Happy Feet, when I was a kid. Isn't that wild? I was part of a selected group that was brought into New York from New Jersey (which is where I'm from) to study, every Saturday: ballet, jazz and tap. It was a musical comedy group.
Every step in human progress, from the first feeble stirrings in the abyss of time, has been opposed by the great majority of men. Every valuable thing that has been added to the store of man's possessions has been derided by them when it was new, and destroyed by them when they had the power. They have fought every new truth ever heard of, and they have killed every truth-seeker who got into their hands.
Every single day, we have hundreds, if not thousands of police officers protecting the lives of not just New Yorkers, but the millions who come to New York City to work and to vacation.
I did, like, every workout class in New York.
When I was forty, I was getting divorced, living in a low-class, dirty hotel in New York. My mother was dying of cancer. I owed $20,000. That was about the lowest. I came back to show business, and I couldn't get a job. I was turned down by every small-time agent in New York.
Every unskilled illegal immigrant who enters the United States for work drives up healthcare costs for every American. And, every illegal immigrant we turn a blind eye toward weakens the rule of law our country is founded on.
I have 7,000 DVDs and Blu-rays. I have thousands of books - thousands - and roughly 15,000 comic books or something like that, hundreds of books about different art movements - the symbolists, the dadaists, the Pre-Raphaelites, the impressionists - you know, that I consult before I start every movie.
A lot of the reason I left New York, in addition to being so broke, was that I just felt I was becoming provincial in that way that only New Yorkers are. My points of reference were really insular. They were insular in that fantastic New York way, but they didn't go much beyond that. I didn't have any sense of class and geography, because the economy of New York is so specific. So I definitely had access and exposure to a huge variety of people that I wouldn't have had if I'd stayed in New York - much more so in Nebraska even than in L.A.
I've written a lot of books now; I've been published for over 30 years. I hope with every book I learn something new, and with every new novel I try to improve the process of writing.
On every continent and in every epoch the peoples who have excelled in creating wealth have been the victims of some of society's greatest brutalities.
The mathematic, then, is an art. As such it has its styles and style periods. It is not, as the layman and the philosopher (who is in this matter a layman too) imagine, substantially unalterable, but subject like every art to unnoticed changes form epoch to epoch. The development of the great arts ought never to be treated without an (assuredly not unprofitable) side-glance at contemporary mathematics.
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