[the] Arresting Of Time Is Photography's Unique

The ‘i’ Character In Journalism Is Almost Pure Invention. Unlike The ‘i’ Of Autobiography, Who Is Meant To Be Seen As A Representation Of The Writer, The ‘i’ Of Journalism Is Connected To The Writer Only In A Tenuous Way—the Way, Say, That Superman Is Connected To Clark Kent. The Journalistic ‘i’ Is An Overreliable Narrator, A Functionary To Whom Crucial Tasks Of Narration And Argument And Tone Have Been Entrusted, An Ad Hoc Creation, Like The Chorus Of Greek Tragedy. He Is An Emblematic Figure, An Embodiment Of The Idea Of The Dispassionate Observer Of Life.

The Dominant And Most Deep-dyed Trait Of The Journalist Is His Timorousness. Where The Novelist Fearlessly Plunges Into The Water Of Self-exposure, The Journalist Stands Trembling On The Shore In His Beach Robe. The Journalist Confines Himself To The Clean, Gentlemanly Work Of Exposing The Grieves And Shames Of Others.

[richard Avedon's] Camera Dwells On The Horrible Things That Age Can Do To People's Faces - On The Flabby Flesh, The Slack Skin, The Ugly Growths, The Puffy Eyes, The Knotted Necks, The Aimless Wrinkles, The Fearful And Anxious Set Of The Mouth, The Marks Left By Sickness, Madness, Alcoholism, And Irreversible Disappointment.

Analysts Keep Having To Pick Away At The Scab That The Patient Tries To Form Between Himself And The Analyst To Cover Over His Wounds. The Analyst Keeps The Surface Raw, So That The Wound Will Heal Properly.

Biography Is The Medium Through Which The Remaining Secrets Of The Famous Dead Are Taken From Them And Dumped Out In Full View Of The World. The Biographer At Work, Indeed, Is Like The Professional Burglar, Breaking Into A House, Rifling Through Certain Drawers That He Has Good Reason To Think Contain The Jewelry And Money, And Triumphantly Bearing His Loot Away.