No great hand reached down from the sky and made me a writer. I made myself one, by writing.
When an audience is with you, it’s like running a rapids, that same raw power and unpredictability, and even the best actors can do little but hold on for dear life and hope the boat doesn’t capsize.
Moss Hart had talent, an inhuman tolerance for work, and a pair of brass balls, but what set him apart from the thousands of other guys hanging around theater lobbies in the mid-1920s trying to catch a break was that the man was fucking relentless.
I have built my life in such a way that my many side jobs still allow me time to write fiction. No great hand reached down from the sky and made me a writer. I made myself one, by writing. So if this book doesn’t sell, or if it sells and nobody reads it, I’ll write another. And another. And another. Until I write a book that feels truly necessary, that people read not because I want them to, but because it gives them some news about the human heart they can’t get any other way. And then what will I do? That’s easy. I’ll start writing another one.
"Since I often biked to my therapist’s, he took note of my helmet and asked how my new exercise regimen was going. It’s going great! I said. I love it! I wish I’d known earlier that I ought to bike. Now I hated going underground. It was like the death instinct to go underground, into the subway. I never realized I hated it so utterly until I didn’t have to do it anymore." On riding a bike in New York.
Each participant found at the entrance a neon green envelope, including a library card in manila sleeve for taking notes on each “date,” and a name tag featuring the handle of a character from a favorite book (favorites requested earlier by e-mail). These would be our pseudonyms for the night. Each date would last an almost militantly enforced four minutes. A single case of lingering — whether affectionate, desirous, or uncertain — could cause the entire caterpillar crawl to go legs up. There was to be no lingering. Lingering is for books.
Maxwell’s is closing this week. The Hoboken rock institution has played a vital role in the city’s history for the past few decades, and it’s a cultural relic. The folks at New York Magazine put together an oral history of the place, and recently I wrote about how the venue was not only a product of — but also a victim to — the march of gentrification.
However one of the unsung heroes of the place — and something that I’ll truly miss — is its chicken pot pie, which I ate for the final time last night.
I have to say goodbye to New York, which feels a bit self-indulgent: people change cities, migrate across the globe, uproot their lives every day, and most of them don’t feel compelled to write long essays about moving. But New York, though — maybe it’s the preponderance of writers here, the narcissism and the navel-gazing, that turns our comings and goings into a series of extended metaphors? We document our arrivals and our acclimations, the natural evolution of a human being, growing older — changing in a city that’s often painted as the living embodiment of change. And when we manage to leave, if we manage to leave, escape becomes a genre in and of itself.
Everything changes, even people, at least a little bit, and I watched my friends unravel somewhat in New York and then weave themselves into something nearly unrecognizable to me.
"The New York of our imaginations has to end sooner than that — maybe it collapses under the weight of our own preconceptions, or maybe pinning so much responsibility on a city serves to mask the way the passage of time can alter us: when we arrive we are willing and eager to fold ourselves into different shapes, to make ourselves fit, but as we grow older, acts of contortion become more difficult, or at the very least, less desirable"
Farewell to the Enchanted City by Elizabeth Minkel