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![]() ![]() I remember a vivid example of Oliver’s response to editing after he’d submitted the first draft of his memoir On the Move to Knopf. Writing gave Oliver such joy it was infectious to those around him. ![]() The three of us spent about 18 months reading and rereading (often countless times) well over a hundred pieces and meeting to discuss them frequently. Everything In Its Pla ce, like the posthumously published Gratitude (2015) and The River of Consciousness (2017), was co-edited by Kate Edgar, Oliver’s personal editor and assistant of 30 years Dan Frank, his longtime editor at Knopf and me, his partner in his last six years. Now, 33 of these and other uncollected pieces are in a book-the final volume of the essays of Oliver Sacks, Everything In Its Place : First Loves and Last Tales. Each had its own distinctive audience and, hence, might be enjoyed even more deeply. Oliver was just as happy to see a piece he’d written in literary journals such as The Threepenny Review highly specialized medical journals such as The Archives of Neurology or commercial magazines with relatively small circulation such as Astrobiology Magazine. Have to be in the most prominent places- The New York Times, The New Yorker or The New York Review of Books, the holy trinity for writers in the US-though he certainly felt fortunate to have his work appear frequently in their pages. ![]()
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