Illnesses have always been used as metaphors to enliven charges that a society was corrupt or unjust.

One of the author's most ancient roles is to call the community to account for its hypocrisies and bad faith.

Fewer and fewer Americans possess objects that have a patina, old furniture, grandparents pots and pans - the used things, warm with generations of human touch, essential to a human landscape. Instead, we have our paper phantoms, transistorized landscapes. A featherweight portable museum.

Photographs are a way of imprisoning reality, understood as recalcitrant, inaccessible; of making it stand still. Or they enlarge a reality that is felt to be shrunk, hollowed out, perishable, remote. One can't possess reality, one can possess (and be possessed by) images.

The whole point of Camp is to dethrone the serious. Camp is playful, anti-serious. More precisely, Camp involves a new, more complex relation to "the serious." One can be serious about the frivolous, frivolous about the serious.

The fear of becoming old is born of the recognition that one is not living now the life that one wishes.

There is an understandable vindictiveness in people who come from Communist countries. They want to keep telling us that we were fools to think that we could make radical changes in our society. Though I understand their dismay, respect their suffering and don't understand the gullibility of some people who don't take in how repressive these societies are, I still think it's important to keep people of all kinds as active in civic matters as possible.