[On the] question of why we might want to look at images even more than the real thing: I think there is some quality when you look at an image of, not only seeing this thing, whether it's the horse or the sky, but you are seeing somebody point at it and say, Look!

I walk wherever my errands take me.

The things we want are transformative, and we don’t know or only think we know what is on the other side of that transformation Never to get lost is not to live.

Walking itself is the intentional act closest to the unwilled rhythms of the body, to breathing and the beating of the heart. It strikes a delicate balance between working and idling, being and doing. It is a bodily labor that produces nothing but thoughts, experiences, arrivals.

Cities have always offered anonymity, variety, and conjunction, qualities best basked in by walking: one does not have to go into the bakery or the fortune-teller's, only to know that one might. A city always contains more than any inhabitant can know, and a great city always makes the unknown and the possible spurs to the imagination.

A restlessness has seized hold of many of us, a sense that we should be doing something else, no matter what we are doing, or doing at least two things at once, or going to check some other medium. It's an anxiety about keeping up, about not being left out or getting behind.

When someone doesn't show up, the people who wait sometimes tell stories about what might have happened and come to half believe the desertion, the abduction, the accident. Worry is a way to pretend that you have knowledge or control over what you don't--and it surprises me, even in myself, how much we prefer ugly scenarios to the pure unknown. Perhaps fantasy is what you fill up maps with rather than saying that they too contain the unknown.