I think politics is important. It's how we run our society. I think it should be natural to have an interest in the subject, and I almost don't understand why some people don't.
There is something fascinatingly awkward about an author photo. I'm drawn to those glossy shots in the back of books, mostly because the subjects never look happy to be there.
Fantasy isn't something I put into the pictures; I don't try and inject them with a sense of play. But it's about being an honest photographer; a photograph is as much of a mirror of the photographer as it is the subject.
The Dutch customs once thought my pictures were photos. Where on earth did they think I could have photographed my subjects? In Hell, perhaps?
To commit the least possible sin is the law for man. To live without sin is the dream of an angel. Everything terrestrial is subject to sin. Sin is a gravitation.
I tend to follow a scattershot approach to reading a lot of very diverse subjects interest me, and I'm quite happy to read stuff on any of them.
Christmas and Easter can be subjects for poetry, but Good Friday, like Auschwitz, cannot. The reality is so horrible it is not surprising that people should have found it a stumbling block to faith.
The rule which should guide us in such cases is simple and obvious enough: that the aggregate testimony of our neighbours is subject to the same conditions as the testimony of any one of them.
No real blood flows in the veins of the knowing subject constructed by Locke, Hume, and Kant, but rather the diluted extract of reason as a mere activity of thought.
The sciences which take socio-historical reality as their subject matter are seeking, more intensively than ever before, their systematic relations to one another and to their foundation.
I never have searched for a subject. They always just come along. They never come by way of decision-making. They just haunt me. I can't get rid of them. I did not invite them.
Unfortunately, the current format for this lottery program are subject to fraud and abuse and leave our nation exposed to those who may seek to do harm on American soil.
Nothing is less suspenseful than a threat that threatens the maker of the threat at least as much as the subject of the threat. Congress hasn't learned this yet, but America has learned it over and over.
As for critical writing about modernism, its moments of lucidity are but fulgurations illuminating the dark and incomprehensible landscape of its subject's unabashed difficulty.
Seize the moment of excited curiosity on any subject to solve your doubts; for if you let it pass, the desire may never return, and you may remain in ignorance.
If a philosophical writer cannot be followed, the difficulty of his subject can be placed only in mitigation of his offense, not in condonation of it. There are too many expert witnesses on the other side.
Whether you are a genius or an idiot, a thief or, like me, a Zen priest who has cultivated the mind for 30 years - the mind anyway is subject to conditions.
I read round the subject, I make a skeleton outline, and then I start work in the relevant archives. During the marshaling of the material, I copy the material from each archive file across to the relevant chapter in the skeleton outline.
The subject of my work has a lot to do with general, artistic matters, questions like: What is creativity? Where do we come from? What are our motors? What is coincidence? What is logic?
I would say that I quite consciously rely on my obsessions in all my work, that I deliberately set up an obsessional frame of mind. In a paradoxical way, this leaves one free of the subject of the obsession.
It's not difficult for me to put my feelings into written form. I try to be concise and to go direct to the subject. This is what people like about my work, and what the critics hate.
