The really important thing is not to reject anything.

When Cartier-Bresson goes to China, he shows that there are people in China, and that they are Chinese.

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.

Al forms of consensus about ''great'' books and ''perennial'' problems, once stabilized, tend to deteriorate eventually into something philistine. The real life of the mind is always at the frontiers of ''what is already known.'' Those great books don't only need custodians and transmitters. To stay alive, they also need adversaries. The most interesting ideas are heresies.

Most writers I know have switched to word processors. I haven't but I'm very curious about why people like it so much. I think it has something to do with the fact that at last writing, which has been such an old-fashioned, artisanal activity, even on a typewriter, has now entered the central domain of modern experience which is that of making copies, being involved in the world of duplicates and machine-mediated activities.

Writing is a mysterious activity.

One task of literature is to formulate questions and construct counterstatements to the reigning pieties. And even when art is not oppositional, the arts gravitate toward contrariness. Literature is dialogue: responsiveness. Literature might be described as the history of human responsiveness to what is alive and what is moribund as cultures evolve and interact with one another.