Every president has to live with the result of what Lyndon Johnson did with Vietnam, when he lost the trust of the American people in the presidency.
You know, my first three or four drafts, you can see, are on legal pads in long hand. And then I go to a typewriter, and I know everybody's switching to a computer. And I'm sort of laughed at.
If you really want to show power in its larger aspects, you need to show the effects on the powerless, for good or ill - the human cost of public works. That's what I try to do, show not only how power works but its effect on people.
Long Island is shaped the way it is largely because of Robert Moses. Long Island is a perfect example of how political power shapes people's lives every day.
If it's coming near the end of a chapter and I'm really getting into it, I tend to get up earlier and earlier, just because I'm excited to get to work.
If things are going well, if the writing's coming along, I jump out of bed happy. And if the previous day has been bad, I get out of bed disgruntled.
Most Sundays, with the exception of football Sundays, I work, because I don't take days off as long as I'm working on something that's supposed to be all in the same mood.
The ballet embodies the notes of music. And sometimes you almost feel like you can see the notes dance up there on the stage.
It's very easy to fool yourself that you're working, you know, when you're really not working very hard. I mean, I'm very lazy. So for me, I would always have an excuse, you know, to go - quit early, go to a museum, you know. So I do everything I can to make myself remember this is a job. I keep a schedule.
I used to work very long hours. Then I started to realize that the stuff that I was writing in the late afternoons, I was generally throwing out. So I quit earlier than I used to.
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