Adam Gopnik Quotes

This is surely the most significant of the elements that Tolkien brought to fantasy ... his arranged marriage between the Elder Edda and "The Wind in the Willows"
big Icelandic romance and small-scale, cozy English children's book. The story told by "The Lord of the Rings" is essentially what would happen if Mole and Ratty got drafted into the Nibelungenlied.

In the New Yorker library, I have long been shelved between Nadine Gordimer and Brendan Gill; an eerie little space nestled between high seriousness of purpose and legendary lightness of touch.

A good analogy [Charlie Hebdo] in lots of ways is "South Park" - the hugely popular American cartoon show - and the things that the "South Park" creators have created, like "The Book Of Mormon," the Broadway musical. If I were a devout Mormon, I would be offended by a lot of things that go on in "The Book Of Mormon," right? It mocks mercilessly the pretensions to truth of Mormonism and the pretensions to virtue of Mormon missionaries.

If we are willing to act violently in pursuit of a peripheral interest, everyone can be certain that, when a vital interest is at stake, we will be still more violent. 'Credibility' is defined as the willingness to kill a lot of people now for a not very good cause to assure the world that we'll kill a lot more people if we can find a better one.

I love you forever' really means 'Just trust me for now,' which is all it ever means, and we just hope to keep renewing the "now," year after year.

The hardest thing to convey is how lovely it all is and how that loveliness seems all you need. The ghosts that haunted you in New York or Pittsburgh will haunt you anywhere you go, because they're your ghosts and the house they haunt is you. But they become disconcerted, shaken confused for half a minute, and in that moment on a December at four o'clock when you're walking from the bus stop to the rue Saint-Dominique and the lights are twinkling across the river–only twinkling in the bateaux-mouches, luring the tourists, but still…–you feel as if you've escaped your ghosts if only because, being you, they're transfixed looking at the lights in the trees on the other bank, too, which they haven't seen before, either. It's true that you can't run away from yourself. But we were right: you can run away.

Of all the unexpected things in contemporary literature, this is among the oddest: that kids have an inordinate appetite for very long, very tricky, very strange books about places that don't exist.

Yet in truth the big question Camus asked was never the Anglo-American liberal one: How can we make the world a little bit better tomorrow? It was the grander French one: Why not kill yourself tonight? That the answers come to much the same thing in the end-easy does it; tomorrow may be a bit better than today; and, after all, you have to have a little faith in people-doesn't diminish the glamour that clings to the man who turned the question over and look at it, elegantly, upside down.

As we waited, I insisted that the reason government bureaus could seem so bureaucratic was that, by their nature, they have to be inclusive, and they can't inflict the basic market rationale of price differences upon their customers. If the privileged could pay more for quicker service, they would, but this would undermine the premises of citizenship. That first-class passengers get a shorter line through security claws at our idea of citizenship, which ought to include the notion that the rich and the poor suffer the indignities and delays of common civic cause equally.

The passage from the big to the little is what makes Paris beautiful, and you have to be prepared to be small - to live, to trudge, to have your head down in melancholy and then lift it up, sideways - to get it.

I think I'm more intensely opinionated when I speak; more agreeably balanced when I write.

The French believe that all errors are distant, someone else's fault. Americans believe that there is no distance, no difference, and therefore that there are no errors, that any troubles are simple misunderstandings, consequent on your not yet having spoken English loudly enough.

We pursued the muses, instead of the mirrors.

History, well read, is simply humility well told, in many manners.

Of all the alchemies of human connection-sex and childbirth and marriage and friendship-the strangest is this: You can stand up and tell a story that is made entirely, embarrassingly, of "I's," and a listening audience somehow turns each "I" into a "me." This alchemy, of self-absorption into shared experience, is the alchemy of all literature.

In bookstores, my stuff is usually filed in the out-of-the-way, additional interest sections.

The World Series is played in my doubtless too-nostalgic imagination in some kind of autumn afternoon light, and seeing it exclusively in the bitter chill of midnight breaks the spell of even the best of games.

What we eat is the one simplest way to declare who we are - the table reflects our values with a clarity that few other theaters of human behaviour posses.

Oliver, success is usually a feeling of mere relief, where failure is pain. Happiness, you see, lies in neither, but in sticking to a daily ritual and becoming absorbed in something useful. When the war is over, even the greatest warriors do not exult. They go back to their garden or kitchen or library
or school
and resume life.
(as said by Mrs. Pearson)

Drawing need not be the bones of art, but skill must always be the skeleton of accomplishment.

Merely that you start off with ideas buzzing around in your head, and then you try to give them the simpler, more graceful shape, of a feeling that a reader might share. You learn to sing with, not argue at, your possible readers.

After all, spinning is its own reward. There wouldn't be carousels if it weren't so.

Parisians believe they are superior by birth, they do not believe, as Americans do, that they are invulnerable by right.

History is not an agreed-upon fiction but what gets made in a crowded room; what is said isn't what's heard, and what's heard isn't what gets repeated. Civilization is an agreement to keep people from shouting 'Fire!' in a crowded theater, but the moments we call historical occur when there is a fire in a crowded theater; and then we all try to remember afterward when we heard it, and if we ever really smelled smoke, and who went first and what they said. The indeterminancy is built into the emotion of the moment. The past is so often unknowable not because it is befogged now but because it was befogged then, too, back when it was still the present. If we had been there listening, we still might not have been able to determine exactly what Stanton said. All we know for sure is that everyone was weeping and the room was full.

Going to a restaurant is one of my keenest pleasures. Meeting someplace with old and new friends, ordering wine, eating food, surrounded by strangers, I think is the core of what it means to live a civilised life.

When handsome men or beautiful women take up the work of the intellect, it impresses us because we know they could have chosen other paths to being impressive; that they chose the path of the mind suggests that there is on it something more worthwhile than a circuitous route to the good things that the good-looking get just by showing up.

It is the vice of the journalist, I once wrote, to think that history can always be reduced to experience, and of the scholar to think that experience can always be reduced to history. History and experience are far more frequently out of sync, or running on parallel tracks.

Americans also seem to believe that the monarchy is a kind of mediaeval hangover, encumbered by premodern notions of decorum; the reality is that the British monarchy, for good or ill, is a modern political institution perhaps the first modern political institution.

Big writers become a kind of shared climate.

An assault on an ideology is not merely different from a threat made to a person; it is the opposite of a threat made to a person. The whole end of liberal civilization is to substitute the criticism of ideas for assaults on people.

Can't repeat the past? We do it every day. We build a life, or try to, of pleasures and duties that will become routine, so that every day will be the same day, or nearly so, "the day of our life," Randall Jarrell called it.

...we see life as deeply in our pleasures as in our pains.

Whenever I am feeling blue, I like to go to the Balzar and watch a waiter gravely transfer a steak au poivre and its accompaniments from an oval platter to a plate, item by item. It reaffirms my faith in the sanity of superfluous civilization.

Often the block [in writing] comes from the wall of words that keep out the simplicity of sense.

I think the worst thing we can do is to concede to fanaticism its devotion, say. Well, you have to understand, these people are really fanatics, so we should back down from them. I think if journalists start doing that then they won't be practicing journalism. If satirists start doing that then they won't be practicing satire.

Writers are married to their keyboards, as to their passports.

That people don't speak in theories, that the theories they employ change, flexibly, and of necessity, from moment to moment in conversation, that the notion of limiting conversation to a rigid rule of theoretical constancy is an absurd denial of what conversation is.

Protein was the most valued ingredient 250 years ago: It was the rarest thing. Now the rarest thing we have is time: time to cook and time to eat.

Sometimes having a good time can be the outward evidence of a deep re-thinking.

Writing doesn't come easily to anyone, I think, certainly not to me. But pressure and practice does lend a certain fluency, I think - the more sentences you write, the more sentences you have written, if that slightly Zen confection makes any sense.

Art without accomplishment becomes a form of faith, sustained more by the intensity of its common practice than by the pleasure it gives to its adherents in private.

We've had mass shootings in the United States in the part of violent antiabortion protesters, in the part of violent pro-ISIS militants. The trick and the trap and the horror is not faith.I don't think the trap and the horror is fanaticism.

[A]s military history reveals, a bad plan is often better than no plan, especially if the people on the other side think it's a good plan.

There was a nook in the house that contained what they called the Turkish Room, which was for intimate conversation. And when my mother had her sixth birthday, her grandmother led her into the Turkish Room. They were both named Inez. And on that day Big Inez gave Little Inez a plantation all her own. Two thousand acres. Then her little sister came running in and said, "Grandmother, can I have a plantation too?" And Big Inez looked down and said, "Child, your name is Alice. You were named for your Yankee grandmother. Go ask your Yankee grandmother for a plantation.

For me, the beauty of the blank page, or empty screen,staring up at nine thirty after two cups of coffee and a deep breath remains unique. The blankness invites scribbling on, mental drawing , and the best feeling I know - apart from the more obvious sensual ones - is the feeling of putting down the first thought and seeing it turn into symbols. Making an idea into an emotion.

I don't think there's any question journalists have become targets, but then I think that - that anyone who tries to practice liberty becomes a target of fanatics.

There are two kinds of travelers. There is the kind who goes to see what there is to see, and the kind who has an image in his head and goes out to accomplish it. The first visitor has an easier time, but I think the second visitor sees more.

I don't miss the obligation to be opinionated, but I do regret the chance to share a joy.

I rush to add that I find the Web infinitely useful for rustling up information, settling arguments or locating the legends of rock stars.

If you're being attacked from all sides, it's possible you're doing something right; it's also possible that you are doing everything wrong.

I remember looking out the window of the little maid's room where we had been installed, seeing the lights of the Palisades across the way, and thinking, There! There it is! There's New York, this wonderful city, I'll go live there someday. Even being in New York, the actual place, I found the idea of New York so wonderful that I could only imagine it as some other place, greater than any place that would let me sleep in it
a distant constellation of lights I had not yet been allowed to visit. I had arrived in Oz only to think, Well, you don't LIVE in Oz, do you?

There is a book to be written, for instance, on small errors in subtitles. In the Fred Astaire musical Royal Wedding, for instance, the English girl he falls for, played by Sarah Churchill (daughter of Sir Winston), is engaged to an American, whom we never see but who's called Hal - like Falstaff's prince, like a good high Englishman. That English H, though, was completely inaudible to the French translator who did the subtitles, and so throughout the film the absent lover is referred to in the subtitles as Al - Al like a stagehand, Al like my grandfather. If you have the habit of print addiction, so that you are listening and reading at the same time, this guy Al keeps forcing his way into the movie. "But what shall I say to Hal - that I have never loved him?" Patricia says to Fred. Down below it says, "Et Al - qu'est-ce que je vais lui dire?

A world in which everything is fashionable is impossible to imagine, because it implies that there would be nothing to provide a contrast. The reason that when you place any two things side by side, one becomes chic and the other does not is that it's in the nature of desire to choose, and to choose absolutely. That's the mythological lesson of the great choice among the beauties: They are all beautiful - they are goddesses - and yet a man must choose. And what was the chooser's name? Paris. C'est normal.

The romance of your child's childhood may be the last romance you can give up.

Wit and puns aren't just decor in the mind; they're essential signs that the mind knows it's on, recognizes its own software, can spot the bugs in its own program.

We use the metaphor of waves that rise and fall in societies, perhaps forgetting that the actual waves of the ocean are purely opportunistic, small irregularities in water that, snagging a fortunate gust, rise and break like monsters, for no greater cause than their own accidental invention.

In Darwin's work, time moves at two speeds: there is the vast abyss of time in which generations change and animals mutate and evolve; and then there is the gnat's-breath, hummingbird-heart time of creaturely existence, where our children are born and grow and, sometimes, die before us...The space between the tiny but heartfelt time of human life and the limitless time of Nature became Darwin's implicit subject. Religion had always reconciled quick time and deep time by pretending that the one was in some way a prelude to the other - a prelude or a porlogue or a trial or a treatment. Artists of the Romantic period, in an increasingly secularized age, thought that through some vague kind of transcendence they could bridge the gap. They couldn't. Nothing could. The tragedy of life is not that there is no God but that the generations through which it progresses are too tiny to count very much. There isn't a special providence in the fall of a sparrow, but try telling that to the sparrows. The human challenge that Darwin felt, and that his work still presents, is to see both times truly - not to attempt to humanize deep time, or to dismiss quick time, but to make enough of both without overlooking either.

Ever since, New York has existed for me simultaneously as a map to be learned and a place to aspire too
a city of things and a city of signs, the place I actually am and the place I would like to be even when I am here. As a kid, I grasped that the skyline was a sign that could be, so to speak, relocated to New Jersey
a kind of abstract, receding Vision whose meaning would always be "out of reach," not a concrete thing signifying "here you are." Even when we are established here, New York still seems a place we aspire to. Its life is one thing
streets and hot dogs and brusqueness
and its symbols, the lights across the way, the beckoning skyline, are another. We go on being inspired even when we're most exasperated.

Paris, on the other hand, looked exactly as it was supposed to look. It wore its heart on its sleeve, and the strange thing was that the heart it wore so openly was in other ways so closed-mysterious, uninviting.

Nothing in a graduate degree in art history prepares you for the eloquence of the eraser.

The loneliness of the expatriate is of an odd and complicated kind, for it is inseparable from the feeling of being free, of having escaped.

A fact about photography: we can look at people's faces in photographs with an intensity and intimacy that in life we normally only reserve for extreme emotional states - for a first look at someone we may sleep with, or a last look at someone we love.

You can't have a decent food culture without a decent coffee culture: the two things grow up together.

Drawing is one of those things which sit on the uneasy bending line between instinct and instruction, where seeming perversity eventually trumps pleasure as the card players and the kibitzers interact and new thrills are sought.

The special virtue of freedom is not that it makes you richer and more powerful but that it gives you more time to understand what it means to be alive.

I think that we're always drawn - particularly sophisticated people - are always drawn to the idea of simplicity.

When you see a Gauguin, you think, This man is living in a dream world. When you see a van Gogh, you think, This dream world is living in a man.

Fanaticism comes in as many flavors as there are human beings.

The sin of capitalism, perhaps, is to make wants feel like needs, to give to simple silly stuff the urgency of near-physical necessity: I must have it. The grace of capitalism is to make wants feel like hopes, so that material objects and stuff can feel like the possibility of something heroic and civic.

I try to turn a written thing, when I'm in trouble with it, into a spoken thing: I start imagining what I would say to someone if I were trying to tell the story or make the argument.

Writing well isn't just a question of winsome expression, but of having found something big and true to say and having found the right words to say it in, of having seen something large and having found the right words to say it small, small enough to enter an individual mind so that the strong ideas of what the words are saying sound like sweet reason.

Leafing through Forbes or Fortune [magazine]s is like reading the operating manual of a strangely sanctimonious pirate ship

parsley. Vegetables these days are chopped into tiny grass.

Nasty Men Make Nice Things; Unpleasant People Think Important Thoughts is, after all, the headline on almost every chapter in cultural history

Writing is the process of finding something to distract you from writing, and of all the helpful distractions - adultery, alcohol and acedia, all of which aided our writing fathers - none can equal the Internet.

Dinner with water is dinner for prisoners

The light obtained by setting straw men on fire is not what we mean by illumination.