A Quote by Judy Blume

I didn't know I was really a writer until I read it in the New York Times. And then I thought, "Oh my god, maybe I can really do this". That was a review of "Margaret." — © Judy Blume
I didn't know I was really a writer until I read it in the New York Times. And then I thought, "Oh my god, maybe I can really do this". That was a review of "Margaret."
Since I got a really bad review when I was, like, 28 in 'The New York Times,' I don't read reviews anymore.
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.
I follow my own nose. So I read things that are different. People will always say to me, "Have you read Robert S. Bosco's latest novel?" or "Have you read so and so's history of Peru, which is reviewed in the New York Review of Books and the New York Times and has a buzz about it?" I don't even know what you're talking about. I'm like from another planet. I'm a pygmy from the jungle.
If you read only the New York Times- I said, 'Oh my God!' The readers of the New York Times are heading for a major, major breakdown shock if Trump is in fact elected.
I get the 'The New York Times' and 'Los Angeles Times' thrown at my door every morning. I'll read the front page of 'The New York Times,' then the op-eds, then scan the arts section and then the sports section. Then I do the same with the 'L.A. Times.'
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.
I didn't really like reading much before I did 'The Golden Compass'. But then my teacher told me to read it. And I thought, 'Oh God, I'm going to have to read a whole book by myself!' It's not that I couldn't read, it's just that I didn't really like books very much. But the book that she lent me I really enjoyed.
A writer writes a book. People read it. You don't know what they're reading, really. You read a review and think, "That is so inaccurate. You can't have been reading my book with any kind of attention, because that is all wrong, that's even the wrong name you're including there." But these reviewers have been diminished in importance, the work is so little respected. If you're reviewed by a real critic, by James Wood or Louis Menand, then you get something that is informed, interesting, and highly articulate. But the average review doesn't have that kind of depth anymore.
Literally, I don't have a television. So I don't really know what's happening pop-culturally. I read the 'New York Times.' And there's one worldwide cabin blog that I look at.
I first started making films - this is my first feature, but I was making shorts - I was actually freelancing as a day job at The New York Times as an art director. I actually worked with Bill Cunningham and really soon after I met him, I thought, "Oh my God, he's a perfect subject for a documentary."
The French are pretty thin-skinned. The few times I mentioned a French writer in 'City Boy,' the relatives would ring up in high dudgeon. I once wrote a mocking review of Marguerite Duras in the 'New York Review of Books,' and good friends of mine in France got very angry.
For a while, I thought I would maybe be a writer. But with music, I was such a nerd; I was really obsessive about it. The problem was I couldn't really sing. I think one day I sang from a different part of my body, from my gut for the first time, and I was like, 'Oh! That's how you're supposed to do it.'
Oh, my Margaret--my Margaret! no one can tell what you are to me! Dead--cold as you lie there you are the only woman I ever loved! Oh, Margaret--Margaret!
I really, honest to God, didn't know what to read until I was out of college and living in Boston, and someone said, 'Well, why don't you read Hemingway?' And I thought, 'OK. I guess I'll try this Hemingway fellow.'
The books I read I do enjoy, very much; otherwise I wouldn't read them. Most of them are for review, for the New York Review of Books, and substantial.
I go down the street thinking, 'Oh my God, I live in New York.' But then I think, 'Oh my God, I'm on Broadway!'
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