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“I know a bit about his [Sirk] life, but it's more about his style than biography. He was European and came out of a theater background, and could easily be defined as 'Brechtian.' He was expressionistic in his films, and was an example of those intensely intellectual artists who ended up working for American studios, and was handed the Ladies Home Journal and asked to adapt the stories for the screen. He found ways to use his artistry to make them interesting and nuanced, while critiquing American values in the process.”

“The fact that a belief has a good moral effect upon a man is no evidence whatsoever in favor of its truth. I'm not contending in a dogmatic way that there is not a God. What I'm contending is that we don't know that there is. I don't like the word "absolute." I don't think there is anything absolute whatever. The moral law, for example, is always changing. At one period in the development of the human race, almost everybody thought cannibalism was a duty.”

“For example, when I was writing Leviathan, which was written both in New York and in Vermont - I think there were two summers in Vermont, in that house I wrote about in Winter Journal, that broken-down house... I was working in an out-building, a kind of shack, a tumble-down, broken-down mess of a place, and I had a green table. I just thought, "Well, is there a way to bring my life into the fiction I'm writing, will it make a difference?" And the fact is, it doesn't make any difference. It was a kind of experiment which couldn't fail.”

“I like to compare the first experiences of the Internet - the fortuitousness, the chance - with reality, with the experience, for example, of being in a city that you don't know. Many times - and I don't know if I can totally defend this argument - I've found that the way one experiences the world, and daily life, we are constantly dealing with these perceptions. And it seems like it works, this superficial perception of determinacy, but it's completely ridiculous.”

“I'm interested in the way the whole cultural landscape can shift over time. Okay, this will seem like a silly example, but look at the whole discourse around "selling out," a concept people say is irrelevant because there's no more distinction between mainstream and underground, inside and outside (which I don't really believe, but that's another issue).”

“The ways sexuality plays out in political economies is central. And Cambodia's political economy is organized around this notion of family. So lesbianism is actually perceived as being threatening to a degree that it would have not been, for example, under socialist East Germany. But it's one of the essential issues of women's freedom: Do you get to do want you want to do with your body? Not if you don't know what your body is for.”

“There's a whole slew of wonderful speculation of flying in a fanciful way. Gulliver is one of the central examples; Swift has the hum of Arabian Nights in his ear with Gulliver's Travels. The difference is in scale - Gulliver as a kind of Sinbad kind of figure, the way he is picked up and carried. Just to finish up with Scheherazade, I do think that The Arabian Nights could be considered as a great book on women's position in the world.”

“I definitely have friends who - they've gone to multiple jobs, they've had trouble finding jobs, some have gone back to school - it's a very transitional period in anyone's life. I think definitely people have, even like my girlfriend for example, she works her job - and just the fact that she has a job - she just feels super lucky in this economy. But it can really shape, I think, the way you view the world.”

“South Africa is not Cameroon. It's a strong economy. I think they should be the first ones setting an example - improving the legal punishments for those that are involved, reinforcing the borders from every angle, meaning that even the diplomatic plane that lands in South Africa should not have the green light to leave without having the plane inspected. Obviously, those guys are often involved. If I get killed for saying that, so be it. That is the fact. There's way too many important people that are involved that don't want to change.”

“I love really exploring... you know, a cop drama for example is a great way to explore class in this country and explore, you know, really, identity in the country and who we are in a way that is extremely exciting, but it's also real, you know, it's also real people and real drama. The same with the military. I mean, a good science fiction story is also great.”

“Constraint theory argues a number of things. First, that the impossible has to be identified. Second, that the actor is then constrained by circumstances to act a certain way. For example, should we invade ISIS? Can we invade ISIS? What would it take to invade ISIS? Once you ask that question you discover the price of that option and then you take a look at American politics and see that the country is probably not prepared to invest the 2 to 3 million people that it would take to defeat ISIS and the insurgency afterwards. All right, so that's not going to happen.”

“If you did something in 1975 that you deeply regret and that you now can recognize as having been profoundly irresponsible, for example, the only way to be lifted out of deep regret and the pain over it is through atonement - through the kind of remorse that leads to genuine atonement, the making of amends, and forgiveness of self and others.”

“Cultures, when they meet, influence one another, whether people like it or not. But Americans don't have any way of describing this secret that has been going on for more than two hundred years. The intermarriage of the Indian and the African in America, for example, has been constant and thorough. Colin Powell tells us in his autobiography that he is Scotch, Irish, African, Indian, and British, but all we hear is that he is African.”

“If you look at how great artists of the past, like Beethoven, for example dealt with art and morality, you see that there was torture and pain in their work, but there was also dignity in the way that was dealt with. So I don't buy this contemporary notion that the only way to be artistic is to be arrogant, offensive or immoral.”

“For example, the idea that objects have properties out there in fixed ways is an incorrect idea about the world. Properties are created through relationships and processes. They are not inherent in electrons or photons or quanta any more than they are inherent in soil or trees or people. So my critique of reductionistic science is a critique that I have inherited from my scientific training. But it has been deepened by my experiences as an ecologist, in seeing the ecological destruction taking place today.”

“It is because of that balanced relationship to the moment that mindfulness serves as the platform for insight... if we feel an emotion, for example, and struggle against it right away, there is not going to be a lot of learning going on. In the same way, if we are swamped by that emotion, overcome by it, there won't be enough space for there to be learning or insight.”