I try to take pictures on their own terms, considering the historical and social context from which they emerge.

Unlike a bow and arrow, a camera by its nature ensures that some kind of target will always be hit, if not necessarily the intended target nor in the intended way.

All I know about 1970s New York City is that it's where I grew up, and you always have an umbilical connection to the time and place of your growing up. It was cheap, didn't have too many people in it, you could go to the movies or whatever on the spur of the moment, you could get by without working too much and especially without involving yourself in the corporate world.

My ideal city is more like the city (New York and Paris come to mind, but it sort of applies to all) that existed up to and including the 1930s, when different classes lived all together in the same neighborhoods, and most businesses of any sort were mom-and-pop, and people and things had a local identity.

I've always assumed it to be an absolute requirement for being a writer: to find all emotions and the sources of all behaviors somewhere within yourself.

I always give money to a sidewalk con if the story is a good one, even if I don't believe a word of it. Art deserves to get paid.

Books entered my house under cover of night, from the four winds, smuggled in by woodland creatures, and then they never left. Books collected on every surface; I believe that somehow they managed to breed