A man never forgets his body the way a woman does, because a man is pushing his body, a part of his body, forward, to make the act of love happen. He brings the jut of his body into the act of love, then takes it back, when it has had its way.

The really important thing is not to reject anything.

The love of the famous, like all strong passions, is quite abstract. Its intensity can be measured mathematically, and it is independent of persons.

The two ideas are antithetical. Insofar as photography is (or should be) about the world, the photographer counts for little, but insofar as it is the instrument of intrepid, questioning subjectivity, the photographer is all.

Norman Mailer in his writings is ultimately more concerned with success than with danger; danger is only a means to success.

I feel that I've had enough theoretical speculation to last me a lifetime.

I belong rather to a more classical tradition of social analysis.