The surest cure for vanity is loneliness.

Radical Chic, after all, is only radical in Style; in its heart it is part of Society and its traditions.

The surest cure for vanity is loneliness.

The whole conviction of my life now rests upon the belief that loneliness, far from being a rare and curious phenomenon, peculiar to myself and to a few other solitary men, is the central and inevitable fact of human existence.

If a conservative is a liberal who's been mugged, a liberal is a conservative who's been arrested.

On Wall Street he and a few others - how many? three hundred, four hundred, five hundred? had become precisely that... Masters of the Universe.

A cult is a religion with no political power.

We are now in the Me Decade - seeing the upward roll of the third great religious wave in American history.

The attitude is we live and let live. This is actually an amazing change in values in a rather short time and it's an example of freedom from religion.

This is the artist, then, life's hungry man, the glutton of eternity, beauty's miser, glory's slave.

At the outset, at least, all three groups had something else to recommend them, as well: They were headquartered 3,000 miles away from the East Side of Manhattan.

There are some people who have the quality of richness and joy in them and they communicate it to everything they touch. It is first of all a physical quality; then it is a quality of the spirit.

There has been a time on earth when poets had been young and dead and famous - and were men. But now the poet as the tragic child of grandeur and destiny had changed. The child of genius was a woman, now, and the man was gone.

A liberal is a conservative who has been arrested.

It is very comforting to believe that leaders who do terrible things are, in fact, mad. That way, all we have to do is make sure we don't put psychotics in high places and we've got the problem solved.

Frankly, these days, without a theory to go with it, I can't see a painting.

Love is the ultimate expression of the will to live.

The notion that the public accepts or rejects anything in modern art is merely romantic fiction. The game is completed and the trophies distributed long before the public knows what has happened.

We are always acting on what has just finished happening. It happened at least 1/30th of a second ago. We think we're in the present, but we aren't. The present we know is only a movie of the past.

There is no spectacle on earth more appealing than that of a beautiful woman in the act of cooking dinner for someone she loves.

'Why' is a question no animal can ask, because both the question and answers require speech. Have you ever seen an animal shrug?

American government is like a train on a track. You have the people on the left shouting; you have the people on the right. But the train's on track. They just keep ploughing ahead.

By the 1950s The Novel had become a nationwide tournament. There was a magical assumption that the end of World War II in 1945 was the dawn of a new golden age of the American Novel, like the Hemingway-Dos Passos-Fitzgerald era after World War I.

By the time I received my doctorate in American studies in 1957, I was in the twisted grip of a disease of our times in which the sufferer experiences an overwhelming urge to join the 'real world.' So I started working for newspapers.

Driving a stock car does not require much handling ability, at least not as compared to Grand Prix racing, because the tracks are simple banked ovals and there is almost no shifting of gears. So, qualifying becomes a test of raw nerve - of how fast a man is willing to take a curve.

Everyone is taught the essentials of writing for at least 13 years, maybe more if they go to college. Nobody is taught music or tap dancing that way.

God, newspapers have been making up stories forever. This kind of trifling and fooling around is not a function of the New Journalism.

I can remember that on the shelves at home, there were these books by Thomas Wolfe. 'Look Homeward Angel' and 'Of Time and the River.' 'Of Time and the River' had just come out when I was aware of his name. My parents had a hard time convincing me that he was no kin whatsoever. My attitude was, 'Well, what's he doing on the shelf, then?'

I do novels a bit backward. I look for a situation, a milieu first, and then I wait to see who walks into it.

I don't think journalists should talk about whom they're voting for.

I found a great many pieces of punctuation and typography lying around dormant when I came along - and I must say I had a good time using them.

I had always looked down on sociology as this arriviste discipline. It didn't have the noble history of English and history as a subject. But once I had a little exposure to it, I said, 'Hey, here's the key. Here's the key to understanding life and all its forms.'

I hate stories in which a person has an occupation and you never see him working at it, like all those marvelous Cary Grant movies where he's a surgeon, and you never see him in the operating room.

I have discovered that for me - now, maybe it doesn't work for everybody - for me, it is much more effective to arrive at any situation as a man from Mars than to try to fit in.

I have never knowingly, I swear to God, written satire. The word connotes exaggeration of the foibles of mankind. To me, mankind just has foibles. You don't have to push it!

I have no idea who coined the term 'the New Journalism,' or when it was coined. I have never even liked the term. Any movement, group, party, program, philosophy or theory that goes under a name with 'new' in it is just begging for trouble, of course.

I never forget. I never forgive. I can wait. I find it very easy to harbor a grudge. I have scores to settle.

I read somewhere that writers, as they get older, become more and more perfectionist. Which may be because they think more highly of themselves and they worry about their reputations. I think there's some truth to that.

I still believe nonfiction is the most important literature to come out of the second half of the 20th century.

I think of evolution as a myth, like the Norse myths, the Greek myths - anybody's myths. But it was created for a rational age.

I used to enjoy using dots where they would be least expected, not at the end of a sentence but in the middle, creating the effect... of a skipped beat. It seemed to me the mind reacted - first!... in dots, dashes, and exclamation points, then rationalized, drew up a brief, with periods.

I used to go through the dictionary looking for unusual but nontechnical words. At one time, I thought the greatest word was 'jejune' and I would throw it into every piece because something about it appealed to me.

I would vote for Bush if for no other reason than to be at the airport waving off all the people who say they are going to London if he wins again. Someone has got to stay behind.

I wrote 'The Painted Word,' about modern art, and was denounced as reactionary. In fact, it is just a history, although a rather loaded one.

I wrote a number of pieces in the year 1966 that were so bad that, although I'm a great collector of my own pieces, I have never collected them.

I'm a great believer in outlines.

I've never met an American who wanted to build an empire.

If I had my choice, I would be writing by typewriter. I worked on newspapers for 10 years. I typed with the touch system, and unfortunately, you can't keep typewriters going today. You have to take the ribbons back to be re-inked. You have to - it's a horrible search to try to find missing parts. So I went to the computer.

If most writers are honest with themselves, this is the difference they want to make: before, they were not noticed; now they are.