As for the multiple editions, in the case of a truly great writer - Shakespeare, Emily Dickinson, Proust, someone with a canon - there is often a "variorum" edition of the work that presents its variants. I think publishing most other writing that way would be impossible, economically, for publishers, and very ill-advised for authors.

If you are forced to describe things for someone else, it sharpens your senses. And also your sense of how hard it is to make the translation from the vibrant, multi-faceted world to a sentence that distils it.

The border between editing and ghostwriting is, at its extremes, a bit porous. An editor really improves and sometimes restructures a manuscript and suggests changes.

As for the multiple editions, in the case of a truly great writer - Shakespeare, Emily Dickinson, Proust, someone with a canon - there is often a "variorum" edition of the work that presents its variants. I think publishing most other writing that way would be impossible, economically, for publishers, and very ill-advised for authors.

This is the river of the great 19th-century landscapists; of Cole, Cropsey and Church, and at the end of the summer it lies motionless under the haze as under a light coat of varnish.

Conservatives like Palin and Reagan and others do seem to love the series, but so do people of all political stripes and backgrounds. I speak about the series' "radiant simplicity."

Every dreamer knows that it is entirely possible to be homesick for a place you've never been to, perhaps more homesick than for familiar ground.