April 21, 2025
- Applying the idea of relative pitch to translation
- The meaninglessness of corporate storytelling
- On what’s left of Outside
- Close
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“I have always known what it means to be a character in someone else’s story. My birth was marked by an asterisk in Maus.* As I emerged into the fluorescent lights of St. Vincent’s Hospital in the Village (it seems strange, to use “I” for that self I cannot remember), some other part of me fell through my father’s black tear of ink on the page. Or rather, not one page, not one asterisk, but hundreds of thousands in books being opened for the first time, being printed for the first time, even now.”
“As admirable as it was to be honest and decisive, enemies could be made stupidly and by accident, and terrible mistakes could test friendships. George Plimpton, as editor of the Paris Review, once turned down a story from his childhood friend Peter Matthiessen, calling it “risible”—something he regretted as long as they lived. A friend of mine from college became outraged after I rejected one of his poems at Rolling Stone. I told him the magazine didn’t run poetry anymore, which it didn’t. He never spoke to me again.”