I always give money to a sidewalk con if the story is a good one, even if I don't believe a word of it. Art deserves to get paid.

Neoliberalism seems to ramp up every day, making it ever more difficult for anyone but corporations to own and run things and define the flavor of a place. I'd love to be optimistic about the future, but it's not easy.

Subjectivity is my middle name, a trick memory is my pack mule, and self-contradiction is my trusty old jackknife.

Like a four-sided porch I'm open to all winds.

New York, which is founded on forward motion and thus loath to acknowledge its dead, merely causes them to walk, endlessly unsatisfied and unburied, to invade the precincts of supposed progress, to lay chill hands on the heedless present, which does not know how to identify the forces that tug at its rationality.

The US remains an object of fascination for me, and the subject of much study, but while many of my friends etc. are American and I have no plans at present to move elsewhere, I consider myself a permanent outsider.

I realize that books are not the entire world, even if they sometimes seem to contain it. But I need the stupid things.

I try to take pictures on their own terms, considering the historical and social context from which they emerge.

New York has no truck with the past. It expels its dead.

My method is the magpie's: I look for shiny things. That is, I look for concrete material details of daily life, and I look for vigorous prose, which is the only kind I can read for very long. That effectively bars a great deal of scholarly work, but I didn't feel its loss.

My ideal city is more like the city (New York and Paris come to mind, but it sort of applies to all) that existed up to and including the 1930s, when different classes lived all together in the same neighborhoods, and most businesses of any sort were mom-and-pop, and people and things had a local identity.

I realised that although I was fascinated with America, its history and culture, I was not interested in becoming American.

Unlike a bow and arrow, a camera by its nature ensures that some kind of target will always be hit, if not necessarily the intended target nor in the intended way.

Many writers and artists portrayed the poor sympathetically, and even fought on their behalf, but they themselves were not of that class. Gay life is perhaps even more subject to ambiguity, since it so often involves crossing classes.

Redheaded Peckerwood, which unerringly walks the fine line between fiction and nonfiction, is a disturbingly beautiful narrative about unfathomable violence and its place on the land