When the animal becomes human, the effect is pleasingly benign and we laugh outloud, "Okay come clean now. This isn't really about hunting, is it?" But when the human becomes animal, the effect is disgusting, and if we laugh at all, then it is what Beckett calls the "mirthless laugh", which laughs at that which is unhappy.

For authoritarians such as Lenin and Žižek, the dichotomy in politics is state power or no power, but I refuse to concede that these are the only options. Genuine politics is about the movement between these poles, and it takes place through the creation of what I call "interstitial distance" within the state.

The yearning for the common good comes from the refusal to accept that perhaps Americans have very little in common apart from the elements of a sometimes successful civil religion based around a sentimental, indeed sometimes teary-eyed, attachment to the constitution and a belief in the quasi-divine wisdom of the founding fathers.

The culture of irony is the culture of postmodernism, which I would furiously want to denounce. We have to act ethically and politically. Irony is a defensive position, against reality. It always knows what to think about reality. The idea of commitment and engagement is central to me, which is not ironic.

If the denial of death is self-hatred, as it is to deny our freedom and live in fear of death (which is to say, to live in a form of bondage), then the acceptance and affirmation of death is indeed a form of self-love. But I'd want to make a distinction between a form of self-love which is essential to what it means to be human, and a narcissism of self-regard, like Rousseau's distinction between amour de soi and amour propre, self-love and pride.

For me philosophy begins with these experiences of disappointment: a disappointment at the level of what I would think of as "meaning," namely that, given that there is no God, what is the meaning of life? And, given that we live in an unjust world, how are we to bring about justice?

Poetry is difficult, I mean interesting poetry, not confessional babble or emotive propaganda. Reading a new poet is discovering an entire world, what Stevens called a 'mundo' and it takes a lot of time to orientate oneself in such a world. What we have to learn to do then, as teachers and militants of a poetic insurgency, is to encourage people to learn to love the difficulty of poetry. I simply do not understand much of the poetry that I love.