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Everything in New York seems to merit preserving. If it's not historical, it's personal. If it's not personal, it's cultural. But you can't. You can't save everything. You just have to pack it up in your brain and take it with you when you go.

Sloane Crosley

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Sloane Crosley
Age: 46
Born: 1978
Born: August 3
Essayist
Journalist
Novelist
Writer
New York City
New York
Personal
Preserving
Brain
Pack
Packs
Seems
Merit
Everything
Cultural
Take
Historical
Save
York

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Alaska is what happens when Willy Wonka and the witch from Hansel and Gretel elope, buy a place together upstate, renounce their sweet teeth, and turn into health fanatics.
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Our culture's obsession with vintage objects has rendered us unable to separate history from nostalgia. People want heart. They want a chaser of emotion with their aesthetics.
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I now know my right from my left and my up from my down. Unluckily, my terrible sense of direction remains. For me, to live in New York City is to never be able to meet someone on the northeast corner. It is to never ever make a smooth entrance, always to get caught looking lost on the street.
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Air travel is the safest form of travel aside from walking even then, the chances of being hit by a public bus at 30,000 feet are remarkably slim. I also have no problem with confined spaces. Or heights. What I am afraid of is speed.
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If you have to ask someone to change, to tell you they love you, to bring wine to dinner, to call you when they land, you can't afford to be with them.
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I like to try to do a little work before I do anything in the morning, even if it's a paragraph.
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I would gladly have accepted a heaping spoonful of nepotism when I got out of college and was looking for a job.
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I was pretty dorky, but there are tiers of dorkdom and I always had friends, though they were equally dorky. I was one of those kids who contracted cooties in the second grade and then had cooties, because there wasn't a vaccine for it. When I was around people, though, I generally wanted to make them laugh. I told a lot of stories.
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In New York and LA, there is sort of that silent competition to be on the cutting edge of something.
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The search for one's first professional job is not unlike a magical love potion: when one wants to fall in love with the next thing one sees, one generally does.
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I got out on the street and started crying the kind of hysterical tears made justifiable only by turning off one’s cell phone, putting it to the ear, and pretending to be told of a death in the family.
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Sometimes we don't know what we want until we don't get it.
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For me, nothing brings out my 'born yesterday' idiotic qualities quite like having my photograph taken.
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No affair that begins with such an orchestrated overture can end on a simple note.
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Our brains are like bonsai trees, growing around our private versions of reality.
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Some of the writers I admire who seem very, very funny and very emotional to me can develop a closeness with the reader without giving too much of themselves away. Lorrie Moore comes to mind, as does David Sedaris. When they write, the reader thinks that they're being trusted as a friend.
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I wouldn't want to live in Berlin. It's bombed out and there's a lot of techno.
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I think the rule of thumb should be this: if you preface a sentence about a friend with the phrase, 'I love X, but... ' more than once in any conversation, you should stop hanging out with them.
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In New York and L.A., there is sort of that silent competition to be on the cutting edge of something. You end up having a conversation with how the world receives your work, especially if you are writing narrative, not fiction. Sometimes it is an awkward conversation. It's like group therapy.
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I think it's hard to have a full-time job and write fiction, but for essays, you need to be in the world.
Sloane Crosley