Adam Gopnik quotes:

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.

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.

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.

I still think the best classic meal in New York is a coffee-shop breakfast - you sort of can't skip it.

All tastes have the quality of being in some way artificial and invented. The secret of life is to have enough detachment from your tastes and your values to see that they are a little bit absurd.

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.

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

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.

The coffee shop is a great New York institution, but it has terrible coffee. And the more traditional coffee shops are trying to catch up with more sophisticated coffee drinkers.

Cooking is the showy side of domesticity.

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

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

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.

There are as many attitudes to cooking as there are people cooking, of course, but I do think that cooking guys tend - I am a guilty party here - to take, or get, undue credit for domestic virtue, when in truth cooking is the most painless and, in its ways, ostentatious of the domestic chores.

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.

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.

Yet human intelligence has another force, too: the sense of urgency that gives human smarts their drive. Perhaps our intelligence is not just ended by our mortality; to a great degree, it is our mortality.

The scale and the brutality of our prisons are the moral scandal of American life.

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.

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

For all the years I'd spent talking about pictures, the truth was that I had no idea how to draw or what it felt like to do it. I would mistrust a poetry critic who couldn't produce a rhyming couplet. Could one write about art without knowing how to draw?

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.

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.

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.

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.

The future will be like the past, in the sense that, no matter how amazing or technologically advanced a society becomes, the basic human rhythm of petty malevolence, sordid moneygrubbing, and official violence, illuminated by occasional bursts of loyalty or desire or tenderness, will go on.

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.

Whatever sense of professional competence we feel in adult life is less the sum of accomplishment than the absence of impossibility: it's really our relief at no longer having to do things we were never good at doing in the first place - relief at never again having to dissect a frog or memorize the periodic table.

Big writers become a kind of shared climate.

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.

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.

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

We breathe in our first language, and swim in our second.

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

Men choose Hamlet because every man sees himself as a disinherited monarch. Women choose Alice [in Wonderland] because every woman sees herself as the only reasonable creature among crazy people who think they are disinherited monarchs.

What drives innovation is abundance and ease, not the pressure of scarcity.

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.

Frauds master our minds; magicians, like poets and lovers, engage them in a permanent maze of possibilities.

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.

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

Love, like light, is a thing that is enacted better than defined: we know it afterward by the traces it leaves on paper.

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.

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

Daniel Levitin takes the most sophisticated ideas that exist about the brain and mind, applies them to the most emotionally direct art we have, our songs, and makes beautiful music of the two together.

Dinner with water is dinner for prisoners

Music is a current of hard choices made to seem easy by the mind.

We don't know that we've lost half a minute from our lives but we feel it somehow, we feel its absence. Something is missing, we think. And so we long for the thing we've missed and can't name, and out of that wanting - well, everything else rises, good and bad. What do you think leads us to the windows in the first place? The light in your eyes shines because of the longing in your soul. And the longing in your souls rises because you are looking for the lost half minute.

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

American long for a closed society in which everything can be bought, where laborers are either hidden away or dressed up as nonhumans, so as not to be disconcerting. This place is called Disney World

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.

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.

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

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.

Someone once said that the joy is not in writing but in having written. I can't say I find that to be true, though I understand the sentiment.

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.

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.

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.

The relentless note of incipient hysteria, the invitation to panic, the ungrounded scenarios - the overwhelming and underlying desire for something truly terrible to happen so that you could have something really hot to talk about - was still startling. We call disasters unimaginable, but all we do is imagine such things. That, you could conclude mordantly, is the real soundtrack of our time: the amplification of the self-evident toward the creation of paralyzing, preëmptive paranoia.

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

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.

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.

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.

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.

Lose your schematic conventions by finding some surprising symbol or shape in the welter of shades, and draw that.

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

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.

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.

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

... 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.