“Yet for quixotic reasons--namely, that I enjoyed writing obits--I had decided to scale back on articles about city life in order to write exclusively about the city's dead. For even less money. It was a strange and inexplicable career move.”

“We had all opted to take City's financial reporting course work, which, in theory, meant we wanted to write about stock prices and corporate takeovers. That, of course, was a joke. No one still in their twenties, and broke, goes into journalism to write about money—a subject in which they still have zero practical experience.”

“I loved the city. We were anonymous, and even then I had the sense that cities were yielding; that they moved over and made room.”

“He had a theory about it. It happened, and re-happened, because it was a city uninterested in history. Strange things occurred precisely because there was no necessary regard for the past. The city lived in a sort of everyday present. It had no need to believe in itself as a London, or an Athens, or even a signifier of the New World, like a Sydney, or a Los Angeles. No, the city couldn't care less about where it stood. He had seen a t-shirt once that said: New York F***in City. As of it were the only place that ever existed and the only one that ever would.”

“For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal.”

“Write all the time. I believe in writing every day, at least a thousand words a day. We have a strange idea about writing: that it can be done, and done well, without a great deal of effort. Dancers practice every day, musicians practice every day, even when they are at the peak of their careers – especially then. Somehow, we don’t take writing as seriously. But writing – writing wonderfully – takes just as much dedication.”