Adam Gopnik Quote
In Paris restaurants can actually go into a kind of hibernation for years and awaken in a new generation: Lapérouse, the famous swanky nineteenth-century spot, has, after a long stretch of being overlooked, just come back to life, and is a good place to eat again. Reading Olivier Todd’s biography of Camus, you discover that the places where Camus went to dinner in the forties (Aux Charpentiers, Le Petit St. Benoît, Aux Assassins) are places where you can go to dinner tonight. Some of Liebling’s joints are still in business too: the Beaux-Arts, the Pierre à la Place Gaillon, the Closerie des Lilas.
Adam Gopnik
In Paris restaurants can actually go into a kind of hibernation for years and awaken in a new generation: Lapérouse, the famous swanky nineteenth-century spot, has, after a long stretch of being overlooked, just come back to life, and is a good place to eat again. Reading Olivier Todd’s biography of Camus, you discover that the places where Camus went to dinner in the forties (Aux Charpentiers, Le Petit St. Benoît, Aux Assassins) are places where you can go to dinner tonight. Some of Liebling’s joints are still in business too: the Beaux-Arts, the Pierre à la Place Gaillon, the Closerie des Lilas.
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About Adam Gopnik
Adam Gopnik (born August 24, 1956) is an American writer and essayist, who was raised in Montreal, Canada. He is best known as a staff writer for The New Yorker, to which he has contributed nonfiction, fiction, memoir, and criticism since 1986.
He is the author of nine books, including Paris to the Moon, Through the Children's Gate, The King in the Window, and A Thousand Small Sanities: The Moral Adventure of Liberalism. In 2020, his essay "The Driver's Seat" was cited as the most-assigned piece of contemporary nonfiction in the English-language syllabus.
He is the author of nine books, including Paris to the Moon, Through the Children's Gate, The King in the Window, and A Thousand Small Sanities: The Moral Adventure of Liberalism. In 2020, his essay "The Driver's Seat" was cited as the most-assigned piece of contemporary nonfiction in the English-language syllabus.