A Quote by James Purdy
The world is telling you through The New York Times and The New York Review of Books "You must shut up. You must never appear again. Because you are not relevant to us." So you have to fight their attempt to destroy you, fight to continue feeling.
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The best part about fighting in New York is the New York fight fans, man - Vegas does not compare to the New York fight fans.
Stephen King writes mass fiction but gets reviewed by the New York Times and writes for the New Yorker. Critics say to me, "Shut up and enjoy your money," and I think, OK, I'll shut up and enjoy my money, but why does Stephen King get to enjoy his money and get reviewed on the cover of the New York Times Sunday Book Review?
When Paul Beatty's 'The Sellout' was first published in America in 2015, it was a small release. It got a rave review in the daily 'New York Times' and one in the weekly 'New York Times Book Review,' too, for good measure. But by and large, it was not a conversation-generating book.
Some Sundays, I read it quickly - other Sundays, I savor it. I generally spend most of my time in 'The New York Times Book Review,' 'Sunday Business,' 'Sunday Review,' and 'The New York Times Magazine.' I turn all the other pages, only stopping when I find a headline that interests me.
The New York Times ,the New York Times is actually telling the Clinton, both of them that they need to come clean on all the money where it came fr?m.
I am proud of the advances we have made in New York where we have continued a legacy of substantive HIV/AIDS policy, but we must continue the fight to end the epidemic and ensure an AIDS-free generation.
The New York Times Bestseller 'The Amateur,' written by Ed Klein, former editor of the 'New York Times Magazine,' is one of the best books I've read.
There is a point where litigious becomes frivolous. And when you file frivolous lawsuits you can be hit by sanctions. I don't see the basis for suing "The New York Times." Ironically, it was "The New York Times" that was the plaintiff in "The New York Times" versus Sullivan.
I didn't have to do that much research to present a post-apocalyptic New York because I basically grew up in that New York. That old New York is gone, and that's one thing that's undiscoverable now but I explore in my fiction.
Feeling is taboo, especially in New York. I read in some little magazine the other day that The New Yorker and The New York Times were sclerotic, meaning, "completely turned to rock." The critics here are that way.
If God had meant Harvard professors to appear in People magazine, She wouldn't have invented The New York Review of Books.
As a journalist, I never critiqued anyone. I never review books. I've never felt qualified as a musician to say whether someone is a good musician or a bad musician. What happens with Black writers and Black artists is that if you're critiqued, for example, by a Black historian who wants to get his name on the cover of "The New York Times," and he says something, like, wacky, well, he'll get his name on the cover of "The New York Times" and he might get tenure, and your career suffers.
In New York, we're always confined with spaces. Our restaurants are difficult to navigate as cooks and to operate. We fight against the buildings we run in New York.
Everything in New York is a fight. It's a fight to get on the subway. It's a fight to go to CVS. It's a fight to get a cab. And eventually, it wears you down.
I forgot that San Francisco is not an angry city like New York. Gays have gotten what they wanted there over the years, unlike New York, where we had to fight for everything.
Woody Allen stayed so good because he never left New York. Howard Stern stayed so good because he never left New York - Mel Brooks when he just got out of New York was doing 'Blazing Saddles;' when he left New York he started doing stuff like 'Robin Hood Men In Tights' - he was in L.A. too long. He lost the edge.
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