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I'm a big believer in pairing classics with contemporary literature, so students have the opportunity to see that literature is not a cold, dead thing that happened once but instead a vibrant mode of storytelling that's been with us a long time - and will be with us, I hope, for a long time to come.
I have always admired the work of Phil Farmer and was glad for the chance to work with him. Readers today may be too young to remember his classics like The Lovers.
When I wrote 'Barefoot in Paris,' I wanted to make simple recipes that you could make at home that tasted like French classics.
I had learning problems when I was in elementary school, and didn't really start to read well until high school. I never read any of the middle grade classics that were popular when I was young - 'Harriet the Spy', 'Charlotte's Web', 'The Witch of Blackbird Pond', 'Charlie and the Chocolate Factory'.
Stick to the classics, and you can't ever go wrong. I see old ladies on the street who have fabulous style and realize it's because they are probably wearing really classic items that they've had for years and years. I think if you find something that suits you, you should just stick to it.
Today it is not the classroom nor the classics which are the repositories of models of eloquence, but the ad agencies.
Remember this: classics never make a comeback. They wait for that perfect moment to take the spotlight from overdone, tired trends.
Style, no matter how outrageous it is, is still an expression of someone's personality. And my personality is somewhere stuck in the classics.
In science, read by preference the newest works. In literature, read the oldest. The classics are always modern.
I will never forget the pleasure and instruction I derived from working with a true master of his art, such as Edward G. Robinson was - and is. Surely his record for versatility, studied characterization - ranging from modern colloquial to the classics - and artistic integrity is unsurpassed.