David Gallin-Parisi

“Janet Malcolm had famously described journalism as the art of seduction and betrayal. Any reporter who didn't see journalism as "morally indefensible" was either "too stupid" or "too full of himself," she wrote. I disagreed. Without shutting the door on the possibility that I was both stupid and full of myself, I'd never bought into the seduction and betrayal conceit. At most, journalism - particularly when writing about media-hungry public figures - was like the seduction of a prostitute. The relationship was transactional. They weren't talking to me because they liked me or because I impressed them; they were talking to me because they wanted the cover of Rolling Stone.”
― Michael Hastings, The Operators: The Wild and Terrifying Inside Story of America's War in Afghanistan

“The projector's beam lay warm on Walt's neck, and he knew they'd all been plucked from danger and love, from another time, another place, and set back into this dark, sticky-floored theater, in the heart of nothing much that mattered.”
― Alan Heathcock, Volt

“Vaughn nodded. Lije steaded himself and looked into the woods. "Never could abide no roof."
"Ours ain't the best," Vaughn said. "Leaks come spring."
Lije pointed at Venus faint above the distant ridge. "only roof-hole I ever did crave."
"Evening star ain't a hole."
"Then how's that light get through?”
― Chris Offutt, Kentucky Straight: Stories

“I do believe most curators - maybe I'm only speaking for myself here - want to be artists on some level. Curators must have an innate interest in what an artist makes. And they certainly have their opinions and criticisms, and the always ask, "How would I have made this, or how would another artist make this?”
― Marion Boulton Stroud, New Material as New Media: The Fabric Workshop and Museum