We're getting rid of the D [in PTSD]. PTS is an injury; it's not a disorder. The problem is when you call it a disorder, [veterans] don't think they can be treated. An employer says, 'I don't want to hire somebody with a disorder.
When I am working on a book or a story I write every morning as soon after first light as possible. There is no one to disturb you and it is cool or cold and you come to your work and warm as you write.
In America, we hurry-which is well; but when the day's work is done, we go on thinking of losses and gains, we plan for the morrow, we even carry our business cares to bed with us...we burn up our energies with these excitements, and either die early or drop into a lean and mean old age at a time of life which they call a man's prime in Europe...What a robust people, what a nation of thinkers we might be, if we would only lay ourselves on the shelf occasionally and renew our edges!
And, inasmuch [as] most good things are produced by labour, it follows that all such things of right belong to those whose labour has produced them. But it has so happened in all ages of the world, that some have laboured, and others have, without labour, enjoyed a large proportion of the fruits. This is wrong, and should not continue. To [secure] to each labourer the whole product of his labour, or as nearly as possible, is a most worthy object of any good government.
This surface good-nature which captivates a new acquaintance and is no bar to treachery, which knows no scruple and is never at fault for an excuse, which makes an outcry at the wound which it condones, is one of the most distinctive features of the journalist. This camaraderie (the word is a stroke of genius) corrodes the noblest minds; it eats into their pride like rust, kills the germ of great deeds, and lends a sanction to moral cowardice.
There was a moment when I changed from an amateur to a professional. I assumed the burden of a profession, which is to write even when you don't want to, don't much like what you're writing, and aren't writing particularly well
The machine is impersonal, it takes the pride away from a piece of work, the individual merits and defects that go along with allwork that is not done by a machine--which is to say, its little bit of humanity.
Talent finds its models, methods, and ends in society, exists for exhibition, and goes to the soul only for power to work. Genius is its own end, and draws its means and the style of its architecture from within.