The writers or artists I write about are not necessarily those I care most about (Shakespeare is still my favourite writer) but those whose work I feel has been neglected.

What interests me is to understand the nature of the modern.

Because each photograph is only a fragment, its moral and emotional weight depends on where it is inserted. A photograph changes according to the context in which it is seen: thus Smith's Minamata photographs will seem different on a contact sheet, in a gallery, in a political demonstration, in a police file, in a photographic magazine, in a book, on a living-room wall. Each o these situations suggest a different use for the photographs but none can secure their meaning.

People don't become inured to what they are shown - if that's the right way to describe what happens - because of the quantity of images dumped on them. It is passivity that dulls feeling. The states described as apathy, moral or emotional anesthesia, are full of feelings; the feelings are rage and frustration.

His view of time, and of change, has become that of most elderly people: he hates change, since for him - for his body - any change is for the worse. And if there is to be change, then he wants it to happen quickly, so it does not use up too much of the time remaining to him.

Nothing is mysterious, no human relation. Except love.

Writing is finally a series of permissions you give yourself to be expressive in certain ways. To leap. To fly. To fail.