I am profoundly uncertain how to write. I know what I love and what I like, because it's a direct passionate response. But when I write, I'm very uncertain whether it's good enough. That is, of course, the writer's agony.

Paintings invariably sum up; photographs usually do not. Photographic images are pieces of evidence in an ongoing biography or history. And one photograph, unlike one painting, implies that there will be others.

In a lot of writing or intellectual discourse we're starting to use that model: "Oh, this is where it comes from!" I would like to concentrate on work which is more resistant to that procedure, as I think fiction is.

The danger, when not too dangerous, fascinate.

Jews and homosexuals are the outstanding creative minorities in contemporary urban culture. Creative, that is, in the truest sense: they are creators of sensibilities. The two pioneering forces of modern sensibility are Jewish moral seriousness and homosexual aestheticism and irony.

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.

A way of certifying experience, taking photographs is also a way of refusing it - by limiting experience to a search for the photogenic, by converting experience into an image, a souvenir. Travel becomes a strategy for accumulating photographs.