Quotes, Quotations and Sayings

American ''energy'' is the energy of violence, of free-floating resentment and anxiety unleashed by chronic cultural dislocations which must be, for the most part, ferociously sublimated. This energy has mainly been sublimated into crude materialism and acquisitiveness. Into hectic philanthropy. Into benighted moral crusades, the most spectacular of which was Prohibition. Into an awesome talent for uglifying countryside and cities. Into the loquacity and torment of a minority of gadflies: artists, prophets, muckrakers, cranks, and nuts. And into self-punishing neuroses. But the naked violence keeps breaking through, throwing everything into question.

Using a camera appeases the anxiety which the work-driven feel about not working when they are on vacation and supposed to be having fun. They have something to do that is like a friendly imitation of work: they can take pictures.

Existence is no more than the precarious attainment of relevance in an intensely mobile flux of past, present, and future.

The painter constructs, the photographer discloses.

Religion is probably, after sex, the second oldest resource which human beings have available to them for blowing their minds.

As soon as I finish scraping the cat out of Susan's car, I want you to give her a bath.

With the modern diseases (once TB, now cancer) the romantic idea that the disease expresses the character is invariably extended to assert that the character causes the disease -- because it has not expressed itself. Passion moves inward, striking and blighting the deepest cellular recesses.

What is most beautiful in virile men is sometimes feminine; what is most beautiful in feminine women is something masculine.

The quality of American life is an insult to the possibilities of human growth... the pollution of American space, with gadgetry and cars and TV and box architecture, brutalizes the senses, making gray neurotics of most of us, and perverse spiritual athletes and strident self-transcenders of the best of us.

A fiction about soft or easy deaths is part of the mythology of most diseases that are not considered shameful or demeaning.

For those who live neither with religious consolations about death nor with a sense of death (or of anything else) as natural, death is the obscene mystery, the ultimate affront, the thing that cannot be controlled. It can only be denied.

Boredom is just the reverse side of fascination: both depend on being outside rather than inside a situation, and one leads to the other.

AIDS obliges people to think of sex as having, possibly, the direst consequences: suicide. Or murder.

Ambition if it feeds at all, does so on the ambition of others.

It is the nature of aphoristic thinking to be always in a state of concluding; a bid to have the final word is inherent in all powerful phrase-making.

Much of modern art is devoted to lowering the threshold of what is terrible. By getting us used to what, formerly, we could not bear to see or hear, because it was too shocking, painful, or embarrassing, art changes morals.

Cancer patients are lied to, not just because the disease is (or is thought to be) a death sentence, but because it is felt to be obscene -- in the original meaning of that word: ill-omened, abominable, repugnant to the senses.

The ideology of capitalism makes us all into connoisseurs of liberty -- of the indefinite expansion of possibility.

Anything in history or nature that can be described as changing steadily can be seen as heading toward catastrophe.

In good films, there is always a directness that entirely frees us from the itch to interpret.

Any critic is entitled to wrong judgments, of course. But certain lapses of judgment indicate the radical failure of an entire sensibility.

In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.

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.

Depression is melancholy minus its charms -- the animation, the fits.

Any important disease whose causality is murky, and for which treatment is ineffectual, tends to be awash in significance.

Guns have metamorphosed into cameras in this earnest comedy, the ecology safari, because nature has ceased to be what it always had been -- what people needed protection from. Now nature tamed, endangered, mortal -- needs to be protected from people.

Ours is a culture based on excess, on overproduction; the result is a steady loss of sharpness in our sensory experience. All the conditions of modern life -- its material plenitude, its sheer crowdedness -- conjoin to dull our sensory faculties.

Camp is a vision of the world in terms of style -- but a particular kind of style. It is love of the exaggerated.

The love of the famous, like all strong passions, is quite abstract. Its intensity can be measured mathematically, and it is independent of persons.

A family's photograph album is generally about the extended family and, often, is all that remains of it.

We live under continual threat of two equally fearful, but seemingly opposed, destinies: unremitting banality and inconceivable terror. It is fantasy, served out in large rations by the popular arts, which allows most people to cope with these twin specters.

Industrial societies turn their citizens into image-junkies; it is the most irresistible form of mental pollution. Poignant longings for beauty, for an end to probing below the surface, for a redemption and celebration of the body of the world. Ultimately, having an experience becomes identical with taking a photograph of it.

Intelligence is really a kind of taste: taste in ideas.

Interpretation is the revenge of the intellect upon art. Even more. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world -- in order to set up a shadow world of ''meanings.''

Perversity is the muse of modern literature.

It's a pleasure to share one's memories. Everything remembered is dear, endearing, touching, precious. At least the past is safe --though we didn't know it at the time. We know it now. Because it's in the past; because we have survived.

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.

Unfortunately, moral beauty in art -- like physical beauty in a person -- is extremely perishable. It is nowhere so durable as artistic or intellectual beauty. Moral beauty has a tendency to decay very rapidly into sententiousness or untimeliness.

Nature in America has always been suspect, on the defensive, cannibalized by progress. In America, every specimen becomes a relic.

I envy paranoids; they actually feel people are paying attention to them.

The past itself, as historical change continues to accelerate, has become the most surreal of subjects --making it possible... to see a new beauty in what is vanishing.

The taste for worst-case scenarios reflects the need to master fear of what is felt to be uncontrollable. It also expresses an imaginative complicity with disaster.

In America, the photographer is not simply the person who records the past, but the one who invents it.

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.

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.

What pornographic literature does is precisely to drive a wedge between one's existence as a full human being and one's existence as a sexual being -- while in ordinary life a healthy person is one who prevents such a gap from opening up. Normally we don't experience, at least don't want to experience, our sexual fulfillment as distinct from or opposed to our personal fulfillment. But perhaps in part they are distinct, whether we like it or not.

What pornography is really about, ultimately, isn't sex but death.

The becoming of man is the history of the exhaustion of his possibilities.

The problems of this world are only truly solved in two ways: by extinction or duplication.

Although none of the rules for becoming more alive is valid, it is healthy to keep on formulating them.