My living room has an oak-wood floor, Persian carpets, floor-to-ceiling bookcases, a large ficus and large fern, a fireplace with a group of photographs and drawings over it, a glass-top coffee table with a bowl of dried pomegranates on it, and sofas and chairs covered in off-white linen.
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APAJanet Malcolm Quotes. (n.d.). Jar of Quotes. Retrieved , from JarofQuotes.com Web site: https://www.jarofquotes.com/view.php?id=my-living-room-has-oak-wood-floor-persian-carpets-floor-to-ceiling-bookcases-large-ficus-large-fern-fireplace-with-group-photographs-drawings-over-it-glass-top-coffee-table-with-
ChicagoJanet Malcolm Quotes. Jar of Quotes, 2019. https://www.jarofquotes.com/view.php?id=my-living-room-has-oak-wood-floor-persian-carpets-floor-to-ceiling-bookcases-large-ficus-large-fern-fireplace-with-group-photographs-drawings-over-it-glass-top-coffee-table-with-, accessed .
MLA"Janet Malcolm Quotes." Jar of Quotes, 2019. . https://www.jarofquotes.com/view.php?id=my-living-room-has-oak-wood-floor-persian-carpets-floor-to-ceiling-bookcases-large-ficus-large-fern-fireplace-with-group-photographs-drawings-over-it-glass-top-coffee-table-with-
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In the common perception, there is something unseemly about young people getting rich. Getting rich is supposed to be the reward for hard work, preferably arriving when you are too old to enjoy it. And the spectacle of young millionaires who made their bundle not from business or crime but from avant-garde art is particularly offensive. The avant-garde is supposed to be the conscience of the culture, not its id.
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I hope each of us owns the facts of her or his own life, " Hughes wrote in a letter to the Independent in April, 1989, when he had been goaded by a particularly intrusive article. But, of course, as everyone knows who has ever heard a piece of gossip, we do not "own" the facts of our lives at all. This ownership passes out of our hands at birth, at the moment we are first observed. The organs of publicity that have proliferated in our time are only an extension and a magnification of society's fundamental and incorrigible nosiness. Our business is everybody's business, should anybody wish to make it so. The concept of privacy is a sort of screen to hide the fact that almost none is possible in a social universe. In any struggle between the public's inviolable right to be diverted and an individual's wish to be left alone, the public almost always prevails. After we are dead, the pretense that we may somehow be protected against the world's careless malice is abandoned. The branch of the law that putatively protects our good name against libel and slander withdraws from us indifferently. The dead cannot be libelled or slandered. They are without legal recourse.
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a fundamental rule of journalism, which is to tell a story and stick to it. The narratives of journalism (significantly called "stories"), like those of mythology and folklore, derive their power from their firm, undeviating sympathies and antipathies. Cinderella must remain good and the stepsisters bad. "Second stepsister not so bad after all" is not a good story.
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Before the magisterial mess of Trevor Thomas's house, the orderly houses that most of us live in seem meagre and lifeless - as, in the same way, the narratives called biographies pale and shrink in the face of the disorderly actuality that is a life. The house also stirred my imagination as a metaphor for the problem of writing. Each person who sits down to write faces not a blank page but his own overfilled mind. The problem is to clear out most of what is in it... The goal is to make a space where a few ideas and images and feelings may be so arranged that a reader will want to linger awhile among them, rather than to flee, as I wanted to flee from Thomas's house.
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The 'I' character in journalism is almost pure invention. Unlike the 'I' of autobiography, who is meant to be seen as a representation of the writer, the 'I' of journalism is connected to the writer only in a tenuous way""the way, say, that Superman is connected to Clark Kent. The journalistic 'I' is an overreliable narrator, a functionary to whom crucial tasks of narration and argument and tone have been entrusted, an ad hoc creation, like the chorus of Greek tragedy. He is an emblematic figure, an embodiment of the idea of the dispassionate observer of life.
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Biography is the medium through which the remaining secrets of the famous dead are taken from them and dumped out in full view of the world. The biographer at work, indeed, is like the professional burglar, breaking into a house, rifling through certain drawers that he has good reason to think contain the jewelry and money, and triumphantly bearing his loot away.
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[Richard Avedon's] camera dwells on the horrible things that age can do to people's faces - on the flabby flesh, the slack skin, the ugly growths, the puffy eyes, the knotted necks, the aimless wrinkles, the fearful and anxious set of the mouth, the marks left by sickness, madness, alcoholism, and irreversible disappointment.
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