War-making is one of the few activities that people are not supposed to view 'realistically'; that is, with an eye to expense and practical outcome. In all-out war, expenditure is all-out, unprudent – war being defined as an emergency in which no sacrifice is excessive.

Our task is not to find the maximum amount of content in a work of art, mush less to squeeze more content out of the work than is already there. Our task is to cut back on content so we can see the thing at all. The aim of all commentary on art now should be to make works of art - and, by analogy, our own experience - more, rather than less, real to us.

The fantasies inspired by TB in the last century, by cancer now, are responses to a disease thought to be intractable and capricious--that is, a disease not understood--in an era in which medicine's central premise is that all diseases can be cured.

The aim of all commentary on art now should be to make works of art - and, by analogy, our own experience - more, rather than less, real to us. The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means.

Illness is the night-side of life, a more onerous citizenship. Everyone who is born holds dual citizenship, in the kingdom of the well and in the kingdom of the sick.

Result of self-consciousness: audience and actor are the same. I live my life as a spectacle for myself, for my own edification. I live my life but I don't live in it. The hoarding instinct in human relations.

The romantic treatment of death asserts that people were made singular, made more interesting, by their illnesses.