... the connection between imperial politics and culture is astonishingly direct. American attitudes to American "greatness", to hierarchies of race, to the perils of "other" revolutions (the American revolution being considered unique and somehow unrepeatable anywhere else in the world) have remained constant, have dictated, have obscured, the realities of empire, while apologists for overseas American interests have insisted on American innocence, doing good, fighting for freedom.

Just as none of us is outside or beyond geography, none of us is completely free from the struggle over geography. That struggle is complex and interesting because it is not only about soldiers and cannons but also about ideas, about forms, about images and imaginings.

And in this relentlessly unfolding series of interactions, the U.S. has played a very distinctive role, which most Americans have been either shielded from or simply unaware of.

We can not fight for our rights and our history as well as future until we are armed with weapons of criticism and dedicated consciousness.

But I do not know whether the photograph can, or does, say things as they really are. Something has been lost. But the representation is all we have.

I have never known what is Arabic or English, or which one was really mine beyond any doubt. What I do know, however, is that the two have always been together in my life, one resonating in the other, sometimes ironically, sometimes nostalgically, most often each correcting, and commenting on, the other. Each can seem like my absolutely first language, but neither is.

Captain Ahab was a man possessed with an obsessional drive to pursue the white whale which had harmed him - which had torn his leg out - to the ends of the Earth, no matter what happened. In the final scene of the novel, Captain Ahab is being borne out to sea, wrapped around the white whale with the rope of his own harpoon and going obviously to his death. It was a scene of almost suicidal finality.