Again: there is nothing inherently superior about resistance. All our claims for the righteousness of resistance rest on the rightness of the claim that the resisters are acting in the name of justice. And the justice of the cause does not depend on, and is not enhanced by, the virtue of those who make the assertion. It depends first and last on the truth of a description of a state of affairs that is, truly, unjust and unnecessary.

My emotional life: dialectic between craving for privacy and need to submerge myself in a passionate relationship to another.

It is a nostalgic time right now, and photographs actively promote nostalgia. Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos. ... All photographs are memento mori. To take photograph is to participate in another person's mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt

writers are makers, not just transmitters, of myths. Literature offers not only myths but counter-myths, just as life offers counter-experiences - experiences that confound what you thought you thought, or felt, or believed.

Marriage is a sort of tacit hunting in couples. The world all in couples, each couple in its own little house, watching its own little interests and stewing in its own little privacy - it's the most repulsive thing in the world. One's got to get rid of the exclusiveness of married love.

To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them that they can never have.

It is not altogether wrong to say that there is no such thing as a bad photograph - only less interesting, less relevant, less mysterious ones.