In the newspaper business, I was in the last generation before the arrival of the personnel manager. You were hired by editors - and editors who would take a chance on what they perceived to be talent and not hire a resume.
People become writers in the first place by those things that hurt you into art, as Yeats said it. Then they become separated from what started out affecting them. Journalism forces you to look at the world so you don't get cut off.
My father lost his leg in 1927 playing soccer. A kick broke his leg; gangrene set in. They sawed it off. So he didn't get what a lot of Irish immigrants got, which was a job on the Waterfront - he didn't get that.
Viewers can't work or play while watching television; they can't read; they can't be out on the streets, falling in love with the wrong people, learning how to quarrel and compromise with other human beings. In short, they are asocial.
In 1962, I wrote a series about 42nd Street called 'Welcome to Lostville.' One result was that the young Bob Dylan read it and invited me to his first concert at Town Hall; the result was a kind of friendship that years later led to my liner notes for 'Blood on the Tracks.'
You will never have enough space in a tabloid paper to compete with the 'New York Times' on foreign coverage.
