A Quote by Samuel Barber
I've had little success in intellectual circles. I'm not talked about in the 'New York Review of Books,' and I was never part of the Stravinsky 'inner circle.'
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The Universe is circles within circles, and everything is one circle, and all the circles are connected to each other. Each family is a circle, and those family circles connect together and make a community, and the community makes its circle where it lives on the Earth. It (the community) cares for that part (of the Earth) but cares for it as a circle - which is to say in a cooperative and egalitarian way, where everybody is cared for, and everybody is respected.
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.
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.
If God had meant Harvard professors to appear in People magazine, She wouldn't have invented The New York Review of Books.
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.
So we see that even when Fortuna spins us downward, the wheel sometimes halts for a moment and we find ourselves in a good, small cycle within a larger bad cycle. The universe, of course, is based upon the principle of the circle within the circle. At the moment, I am in an inner circle. Of course, smaller circles within this circle are also possible.
The composer Stravinsky had written a new piece with a difficult violin passage. After it had been in rehearsal for several weeks, the solo violinist came to Stravinsky and said he was sorry, he had tried his best, the passage was too difficult, no violinist could play it. Stravinsky said, 'I understand that. What I am after is the sound of someone trying to play it.'
When I write, I aim in my mind not toward New York but to a vague spot a little to the east of Kansas. I think of the books on library shelves, without their jackets, years old, and a countryish teen-aged boy finding them, and having them speak to him. The review, the stacks in Brentano's, are just hurdles to get over, to place the books on that shelf.
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'm aware more than I was before I had books published that any review is a bit arbitrary - it's not really, say, 'The New York Times' that's authoritatively weighing in on the quality of a book, though it seems this way to the public.
I had my success too soon. Three books published with Scribner's in New York before I was 30.
I had my success too soon. Three books published with Scribners in New York before I was 30.
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.
My dream when I was 14 was someday I could have a David Levine caricature of me in 'The New York Review of Books.'
I've lived in New York City all my life. I love New York City; I've never moved from New York City. Have I ever thought about moving out of New York? Yeah, sure. I need about $10 million to do it right, though.
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.
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