If you see a theme that you might want to take a photo of, you sort of stand there for an hour waiting for it to resolve, waiting for the geometry of a theme to be exactly what you want them to be. That was my process to get photos.

The novelist can't successfully depict such horrifying reality. But she can, and must, try, to bear witness. There are many ways of doing this; the mode I prefer is indirect.

The banality of evil transmutes into the banality of sentimentality. The world is nothing but a problem to be solved by enthusiasm.

It wasn't a deception: all lovers live on partial knowledge.

I couldn't remember what life was like before I started walking.

Note-taking is important to me: a week's worth of reading notes (or "thoughts I had in the shower" notes) is cumulatively more interesting than anything I might be able to come up with on a single given day.

There's a reticence necessary when you consider the suffering of others. Into the space created by that reticence, you bring in those things that best help us confront ambiguity: music, painting, film, and so on.