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.
Existence is no more than the precarious attainment of relevance in an intensely mobile flux of past, present, and future.
Anything in history or nature that can be described as changing steadily can be seen as heading toward catastrophe.
A photograph is both a pseudo-presence and a token of absence. Like a wood fire in a room, photographs-especially those of people, of distant landscapes and faraway cities, of the vanished past-are incitements to reverie. The sense of the unattainable that can be evoked by photographs feeds directly into the erotic feelings of those for whom desirability is enhanced by distance.
My ignorance is not charming.
The feminist movement has been important to me because it's made me feel less odd and also because it has made me understand some of the pressures on women which I was lucky enough to have escaped, perhaps because of my eccentricity or the oddness of my upbringing.
I certainly identify myself as a feminist.
Now the new things happening in France don't interest me.
I feel that I've had enough theoretical speculation to last me a lifetime.
You know that you can't make references to the Classics any longer and less and less to the English classics even.
I'm interested in the possibility of fiction which straddles narrative and essay.
I didn't think of myself as importing, I thought it was more interesting to write about things people didn't know about than what they did. When I became aware that I was in fact "importing", I stopped doing it.
You can always be quoted.
There is an understandable vindictiveness in people who come from Communist countries. They want to keep telling us that we were fools to think that we could make radical changes in our society. Though I understand their dismay, respect their suffering and don't understand the gullibility of some people who don't take in how repressive these societies are, I still think it's important to keep people of all kinds as active in civic matters as possible.
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.
Currently intellectuals in Western Europe and North America are extremely demoralized and shaken by the rise of a virulent conservative tendency (which some have even joined).
When you are writing, you are - from society's point of view - only producing the first version which will then be processed and recycled.
The writers or artists I write about are not necessarily those I care most about (Shakespeare is still my favourite writer) but those whose work I feel has been neglected.
When you see your 40-page essay turned into a "hot tip" in one paragraph in Newsweek, you get anxious about the way your writing has been used.
It's not that you make up your ideas to justify your temperament but that it's the temperament first.
Ultimately ideas come out of a temperament or a sensibility, they are a crystallization or a precipitation of temperament.
I think part of the success which Structuralist or post-Structuralist thought in critical theory has had in literary studies in American universities is due to a theoretical vacuum.
I'm extremely interested in the Russian formalists and have been for many years. I'm more drawn to their writing, which is expressive and literary, than to writing which is extremely academic or jargon-ridden.
Using quotations was at first quite spontaneous for me, but then this use became strengthened through reflection. But originally this practice came out of temperament.
The question of the social uses of photography opens out into the very largest issues of the self, of the relationship to community, to reality.