“Every fall into love involves [to adapt Oscar Wilde] the triumph of hope over self-knowledge. We fall in love hoping that we will not find in the other what we know is in ourselves – all the cowardice, weakness, laziness, dishonesty, compromise and brute stupidity. We throw a cordon of love around the chosen one, and decide that everything that lies within it will somehow be free of our faults and hence lovable. We locate inside another a perfection that eludes us within ourselves, and through union with the beloved, hope somehow to maintain [against evidence of all self-knowledge] a precarious faith in the species.”— Alain de Botton (via kateoplis)
well so i should start by saying i sort of don’t care about craft. to be sure, my handle on assessing the basic rapping skill of anyone is, at best, developing. so i sort of don’t even know about craft (except re:beats, where my butt is the expert on craft, based on what…
Your novels sell pretty well. Why do you still work at Time?
That’s a good question. I’ve talked about this before, a couple of times. Bottom line is, I do make a pretty good living from my books. I look at some other writers who are in comparable places in their careers and think, gorram it, they write fiction full time, why don’t I? But I can’t. If I’d made certain decisions earlier in my life, and not made a few others, I could. But as it is I have a lot of overhead. For reasons that don’t bear going into, I have to live in New York, and that’s incredibly expensive. Also a lot of people depend on the money from the Magicians books, not just me. And it’s not like working for Time is a crap job. It’s a great job. It doesn’t pay as much as The Magicians pays, but it pays enough.
Emphasis mine. (Lynda Barry: “The key to eternal happiness is low overhead and no debt.”) I’m reading Grossman’s The Magicians right now and really enjoying it.