Despite the hundreds of attempts, police terror and the concentration camps have proved to be more or less impossible subjects for the artist; since what happened in them was beyond the imagination, it was therefore also beyond art and all those human values on which art is traditionally based.

I absolutely don't believe in anything. Full stop. Including luck.

I'm good at reading people.

The real resistance now is to an art which forces its audience to recognize and accept imaginatively, in their nerve ends, not the facts of life but the facts of death and violence: absurd, random, gratuitous, unjustified, and inescapably part of the society we have created.

The better the artist, the more vulnerable he seems to be.

Each sporadic burst of work, each minor success and disappointment, each moment of calm and relaxation, seemed merely a temporary halt on my steady descent through layer after layer of depression, like an elevator stopping for a moment on the way down to the basement.

Twentieth-century art may start with nothing, but it flourishes by virtue of its belief in itself, in the possibility of control over what seems essentially uncontrollable, in the coherence of the inchoate, and in its ability to create its own values.