Edith Pearlman Quotes

Truman Capote is really an interesting cat.

How wonderful it was to sit on a set with Norman Mailer and get to know him.

I have to say that it was a very strange experience when, later in life, I represented Byron Scott and was negotiating with West - whose picture I used to have over my bed! That took some getting used to.

One of the true pleasures of my life has been the work of John Steinbeck. He was one of the people who turned my life around. I had no direct relationship with him, unfortunately.

Like most writers, I've read a lot of Hemingway, and I admire him greatly.

Paul Auster is my favourite writer, and I'm sure he'd be a very interesting person to share a journey with.

I love John Updike immoderately. I am profoundly shocked that he has gone because he was, for me, the greatest American writer of the second half of the 20th century. He was also a gracious, charming, and witty man.

I've been with Shakespeare all my life.

I actually grew up around the corner from where Harold Pinter did. If you want a snapshot of my childhood, me and Pinter, we essentially grew up together.

I've known Stuart Broad since he was a child, living up the road from me.

I grew up two train stops from where A Tribe Called Quest grew up, and one stop from Nas.

We [with Brandy Burre ] like fifteen feet away from each other. You can see my house and my car in pretty much every exterior shot in the movie. It was like filming at my extended house. My kids and her kids are the same age and they're best friends. Every summer they play with each other. We were intensely close friends beforehand in part because we take care of each other's kids.

Mr. [Aldous] Huxley has been the alarming young man for a long time, a sort of perpetual clever nephew who can be relied on to flutter the lunch party. Whatever will he say next? How does he think of those things? He has been deplored once or twice, but feeling is in his favor: he is steadily read. He is at once the truly clever person and the stupid person's idea of the clever person; he is expected to be relentless, to administer intellectual shocks.

To be honest, I don't know. I started one [book] back in 1982 or '83 when I first retired. But I was only 25 or 26 and not ready to write my memoirs.

I felt like I kind of got to know [Elvis Presley], and got a little peek inside what was going on there. That was pretty amazing.

The world is shrinking together; it is finding itself neighbor to itself in strange, almost magic degree.

Life is not what you alone make it. Life is the input of everyone who touched your life and every experience that entered it. We are all part of one another.

Before writers are writers they are readers, living in books, through books, in the lives of others that are also the heads of others, in that act that is so intimate and yet so alone.

I went to a lecture of [Arthur Koestler ] once, I never met him.

I live my memoirs, I don’t have to write them down.

When I read Jerome D. Salinger's "The Catcher in the Rye" that was the first time I felt my mind blow open. I thought that book was speaking to me. I was 12 or 13 when I read that. I read everything on my mother's bookshelves.

I, on my side, require of every writer, first or last, a simple and sincere account of his own life, and not merely what he has heard of other men's lives; some such account as he would send to his kindred from a distant land; for if he has lived sincerely, it must have been in a distant land to me.

Norbert Blei is a writer the way people used to be troubadours and minstrels, celebrating what he has seen and heart and felt in a deceptively simple style reminiscent of the early Sherwood Anderson. . . . Like Anderson, he is a lover, and his affection invests his writing with a singular charm.

The theme of my autobiography could only be repetition.