'The New Yorker' was really my first experience with serious editing. Previously, I'd more or less just had copyediting with a few suggestions - not much.
I'm a New Yorker, and I'm a fighter.
It's a project that touched me as an immigrant and as a New Yorker.
I knew I didn't want to come out in the 'New Yorker'; it just felt wrong. It needed an African conversation.
New York is a place that can grind you down and spit you out. A true New Yorker doesn't get ground down - he gets polished.
One of the nice things about 'The New Yorker' is they let you write stories that sometimes end up almost half a book.
I see a New York where there is no barrier to the God-given potential of every New Yorker. I see a New York where everyone who wants a good job can find one. I see a New York where the people can believe in a grounded government again.
To me, what defines a New Yorker is the edge that one develops from having actually lived here. Once you have it, it doesn't go away, and everywhere else in the world feels like it is in slow motion.
If you write chick lit, and if you're a New Yorker, and if your book becomes the topic of pop-culture fascination, the paper might make dismissive and ignorant mention of your book. If you write romance, forget about it. You'll be lucky if they spell your name right on the bestseller list.
Probably the biggest influence on my career was the late John Hersey, who, while he was at 'The New Yorker,' wrote one of the masterpieces of narrative non-fiction, 'Hiroshima.' Hersey was a teacher of mine at Yale, and a friend. He got me to see the possibility of journalism not just as a business but as an art form.
I felt uncomfortable calling myself a writer until I started with 'The New Yorker,' and then I was like, 'Okay, now you can call yourself that.'
I read the 'New Yorker' when I was a kid. I used to love the cartoons and pick the cartoons out of the library, so I felt I knew the world of their cartoons.
I'm going to do whatever I have to do to help a New Yorker, whether it's a girl on the street or a tenant in a housing development.
Most magazines have peak moments. They live on, they do just okay, or they die. 'The New Yorker' has had a very different kind of existence.
I'm used to driving fast; I'm a New Yorker.
'The New Yorker' didn't invent the magazine cartoon, but it did really establish it.
No one knows restaurants like a New Yorker - they're incredibly discerning and restaurant savvy.
When I was working on the al-Zawahiri piece, a large part of it published in 'The New Yorker' in 2002, I had spoken to a lot of Zawahiri's friends, people who had been in prison with him, people that had been in al-Jihad with him. And quite to my surprise, they liked that article a lot.
It is in the nature of the New Yorker to be as topical as possible, on a level that is often small in scale and playful in intention.
In New York, all the crews read 'The New Yorker.' In Los Angeles, they don't know from 'The New Yorker.'
As an old-time New Yorker, it's not that I miss the '70s and '80s or whatever. I miss the fact that there was a certain kind of energy that exists when people can live for nothing.
I'm a native New Yorker, so I'm edgier; I kind of tell it like it is.
I'm a New Yorker, and I rarely get to work at home.
I still think of myself really as a New Yorker.
I feel like I'm a New Yorker because I really know the city. I actually tell the drivers where to go - I have this bad habit, I always question the drivers. I do that all the time because I feel like I know the best way, when really it's like, 'Yo, man, shut up. This dude does this every day of his life.'
Why on earth is the 'New Yorker' publishing puff pieces about pretty girls who go to parties? Does the 'New Yorker' ever run photos of cute boys just because they're cute and they come from money and they go to lots of parties?
If I have a spare second, I usually catch up on the many magazines I'm behind on or watch the latest movies on demand that I usually missed at the theater. I love magazines. My top three: Graydon Carter's 'Vanity Fair', Adam Moss' 'New York magazine' and David Remnick's 'New Yorker.'
'Royal Beatings' was my first story, and it was published in 1977. But I sent all my early stories to 'The New Yorker' in the 1950s, and then I stopped sending for a long time and sent only to magazines in Canada. 'The New Yorker' sent me nice notes, though - penciled, informal messages. They never signed them. They weren't terribly encouraging.
If you appear in the 'Atlantic' or 'Harper's' or the 'New Yorker,' by God, you must be a writer, because everybody says so.
It was actually an Israeli cartoonist, Nurit Karlin, who made me think that I could draw for 'The New Yorker.' I saw her work published in the magazine in the early 1970s - she was the only woman working as a cartoonist at 'The New Yorker' at the time.
I think that anyone who likes writing views 'The New Yorker' as the, you know, pinnacle of the publishing world. If you get 50 words published in 'The New Yorker,' it's more important than 50 articles in other places. So, would I love to one day write for them? I guess. But that's not my sole ambition.
I've lived in other cities - Rome, Dublin, Mexico City - but I was born in New York City, and I always lived in those other places as a New Yorker.
Being female was just one more way I felt different and weird. I was also a young 'un, and also my cartoons were not like typical 'New Yorker' cartoons.
I guess if you're independent, not afraid of much, and extremely stylish, that makes you a pretty good candidate for being a New Yorker.
I definitely feel like a native New Yorker. My personality was formed there.
I travel so much when I work, I've really been happy to do 'Nice Work' because I feel like a true New Yorker again. I have my little regimen during the day, and I can take advantage of the museums and the things that I love. And people watching!