Some cities are women and must be loved; others are men and can only be admired or bargained with

Iconic clothing has been secularized. . . . A guardsman in a dress uniform is ostensibly an icon of aggression; his coat is red as the blood he hopes to shed. Seen on a coat-hanger, with no man inside it, the uniform loses all its blustering significance and, to the innocent eye seduced by decorative colour and tactile braid, it is as abstract in symbolic information as a parasol to an Eskimo. It becomes simply magnificent.

Pornographers are the enemies of women only because our contemporary ideology of pornography does not encompass the possibility of change, as if we were the slaves of history and not its makers. . . . Pornography is a satire on human pretensions.

The end of exile is the end of being.

His contagious conviction that our love was unique and desperate infected me with an anxious sickness; soon we would learn to treat one another with the circumspect tenderness of comrades who are amputees, for we were surrounded by the most moving images of evanesecence, fireworks, morning glories, the old, children. But the most moving of these images were the intagible relfections of ourselves we saw in one another's eyes, reflections of nothing but appearances, in a city dedicated to seeming, and, try as we might to possess the essence of each other's otherness, we would inevitably fail.

Women's sexy underwear is a minor but significant growth industry of late-twentieth-century Britain in the twilight of capitalism.

At the best of times, spring hurts depressives.