A Quote by Tom Perrotta

I was writing very early, like I was involved in our high school literary magazine, which was called 'Pariah.' The football team was the Bears, and the literary magazine was 'Pariah.' It was great. It was definitely a real sub-culture. But I wrote stories for them.
When I first started writing in my early 20s it was literary criticism for a very eccentric magazine called Books And Bookmen, which allowed me to write, more or less anything.
I wrote for a weekly magazine and then edited a literary magazine, but I did not really feel comfortable with the profession of journalism itself
I wrote for a weekly magazine and then edited a literary magazine, but I did not really feel comfortable with the profession of journalism itself.
I was editor of my high school literary magazine and a reporter for the school newspaper.
I wrote a piece for the school literary magazine that now makes me think: 'My God in Heaven, this is just the worst drivel.'
The literary culture, if you examine it, the high literary culture is that which preserves the government and you know it's really the talk for those who have.
I was well acquainted with the Calcutta literary circle since I was 17, when I lived in Bangladesh and published and edited a little magazine called 'Sejuti,' for which young poets from both Bengals wrote. If you look at my life, there is no question of using anyone for anything. I have only got banned, blacklisted and banished.
I began writing early - very, very early... I was already writing short stories for the radio and selling poems to poetry and art festivals; I was involved in school plays; I wrote essays, so there was no definite moment when I said, 'Now I'm a writer.' I've always been a writer.
I was co-editor of the magazine called The Jazz Review, which was a pioneering magazine because it was the only magazine, then or now, in which all the articles were written by musicians, by jazz men. They had been laboring for years under the stereotype that they weren't very articulate except when they picked up their horn.
I set up this magazine called Student when I was 16, and I didn't do it to make money - I did it because I wanted to edit a magazine. There wasn't a national magazine run by students, for students. I didn't like the way I was being taught at school. I didn't like what was going on in the world, and I wanted to put it right.
In 1970 or '71, early in the magazine, Michael O'Donoghue did maybe eight pages of a 1958 yearbook, from Ezra Taft Benson High School. But by the time the [book-length] high-school yearbook came around, he didn't want to be involved.
I read everything I could find in English - Twain, Henry James, Hemingway, really everything. And then after a while I started writing shorter pieces in English, and one of them got published in a literary magazine and that's how it got started. After that, graduate school didn't seem very important.
You look at, like, a 'People' magazine, which used to be a really good, you know, nice magazine you could go to for real stories. It wasn't like a 'Star' or an 'US Weekly' and they have somebody with plastic surgery on the cover, Heidi Montag. And it's obviously what consumers want, because why else would they be doing it?
I was an English major at the University of Minnesota, and I was very shy, which many people misinterpreted as intelligence. On the basis of that wrong impression, I became the editor of the campus literary magazine.
There was a great magazine in the '80s called 'Cinemagic' for home moviemakers who liked to do monster and special effects movies. It was like a magazine written just for me.
My high school didn't have a football team; we just had like a surf team, because I grew up in Encinitas, California, which is the ultimate place where everyone skated or surfed, so it was a very different culture. It was, like, cool to be the art kid.
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