Voyeur Quotes

Male fantasies, male fantasies, is everything run by male fantasies? Up on a pedestal or down on your knees, it's all a male fantasy: that you're strong enough to take what they dish out, or else too weak to do anything about it. Even pretending you aren't catering to male fantasies is a male fantasy: pretending you're unseen, pretending you have a life of your own, that you can wash your feet and comb your hair unconscious of the ever-present watcher peering through the keyhole, peering through the keyhole in your own head, if nowhere else. You are a woman with a man inside watching a woman. You are your own voyeur.

Sam laughed, a funny, self-deprecating laugh. "You did read a lot. And spent too much time just inside the kitchen window, where I couldn't see you very well." "And not enough time mostly naked in front of my bedroom window?" I teased. Sam turned bright red. "That," he said, "is so not the point of this conversation.

I've learned, my dear—never give your heart away to a man who doesn't want or deserve it.

There are no innocent bystanders ... what are they doing there in the first place?

Just three words? Nothing about his physical health? His equipment? His supplies?' 'You got me,' she said. 'He left a detailed status report. I just decided to lie for no reason.' 'Funny,' Venkat said. 'Be a smart-ass to a guy seven levels above you at your company. See how that works out.' 'Oh no,' Mindy said. 'I might lose my job as an interplanetary voyeur? I guess I'd have to use my master's degree for something else.' 'I remember when you were shy.' 'I'm space paparazzi now. The attitude comes with the job.

Order anything you like, from croissants to caviar,” he proudly said

You must enjoy the time and make the most of the experience because time slips away and before you realize it your youth has passed, and you are old.

Love looks not with the eyes, but with the mind.

Sleep well, my beautiful lover,” I said. “. . . the journey is just getting started.

Luck be a lady tonight.

Jerusalem takes you in and puts you under its exotic, opulent spell in a way few other cities can.

I had come to Europe looking to learn about love and life—and men.

We can only truly have but one love in our life.

I was living in a world little Dorothy from Kansas could never have imagined or expected

... don't ever underestimate people, don't ever underestimate the pleasure they receive from viewing pain that is not their own... Pain by itself is just Pain. But Pain + Distance can = entertainment, voyeurism, human interest, cinéma vérité, a good belly chuckle, a sympathetic smile, a raised eyebrow, disguised contempt.

You are a woman with a man inside watching a woman. You are your own voyeur.

He had the most sublime wit, and you never knew what was going to come out of his mouth.

The moral nihilism of celebrity culture is played out on reality television shows, most of which encourage a dark voyeurism into other people's humiliation, pain, weakness, and betrayal.

As well, for a young woman, you carry yourself with a special kind of dignity and grace, a quality of confidence and self-assurance that I find most appealing and is not often found in someone your age.

In films, we are voyeurs, but in novels, we have the experience of being someone else: knowing another person’s soul from the inside. No other art form does that. And this is why sometimes, when we put down a book, we find ourselves slightly altered as human beings. Novels change us from within.

All right, Mortensen, last chance. Are you ready to make the switch from voyeur to exhibitionist?” He inclined his head toward me curiously. “Are we still talking about dancing?” “Well, that depends, I suppose. I heard someone once say that men dance the same way they have sex. So, if you want everyone here to think you’re the kind of guy who just sits around and—” He stood up. “Let’s dance.

Neighbors are the most indecent sort of folk around. Nothing but voyeurs and gossipers. As a community we would be much better off without them.

This is the end to my Saturday night. My cat has watched me whack off to a vision of my best friend. “Don’t say a word,” I hiss. He looks away, lifting his chin haughtily. But he’ll keep my secret. I’ll keep his, too, the fucking little voyeur.

Do you ever feel like you’re only ever watching? I ask Declan. Never really participating. Never really doing. Just always watching.

There was something not quite right about her eagerness, an eerie kind of voyeurism in her need for bad news.

Literature presents you with alternate mappings of the human experience. You see that the experiences of other people and other cultures are as rich, coherent, and troubled as your own experiences. They are as beset with suffering as yours. Literature is a kind of legitimate voyeurism through the keyhole of language where you really come to know other people's lives--their anguish, their loves, their passions. Often you discover that once you dive into those lives and get below the surface, the veneer, there is a real closeness.

This is the man who thinks too much, who stands back from his life and never lives it. He is caught in a web of pros and cons about his decisions and lost in a labyrinth of reflective meanderings from which he cannot extricate himself. He is afraid to live, to ‘leap into battle.’ He can only sit on his rock and think. The years pass. He wonders where the time has gone. And he ends by regretting a life of sterility. He is a voyeur, an armchair adventurer. In the world of academia, he is a hairsplitter. In the fear of making the wrong decision, he makes none. In his fear of living, he also cannot participate in the joy and pleasure that other people experience in their lived lives. If he is withholding from others, and not sharing what he knows, he eventually feels isolated and lonely. To the extent that he has hurt others with his knowledge and technology—in whatever field and in whatever way—by cutting himself off from living relatedness with other human beings, he has cut off his own soul.” Refering the the dark magician energy.

Are the guardian angels always with them?” I asked, still watching it. “Yup. They're with their humans when they visit the loo..even when they're having sex.” I closed my eyes and shook my head. “You just had to go there.” “You asked. And don't worry. They're way too pure and obedient to be voyeurs.

You're either going to walk through life and experience it fully or you're going to be a voyeur. And I'm not a voyeur.

I was confused by this sudden glare of attention; it was as if the characters in a favorite painting, absorbed in their own concerns, had looked up out of the canvas and spoken to me.

God is a tender pervert, and the angels are voyeurs.

This is the difference between an ordinary scribe and a literary writer. The highest level of literary creation is when the characters in a novel possess life in the mind of the writer. The writer is unable to control them, and might not even be able to predict the next action they will take. We can only follow them in wonder to observe and record the minute details of their lives like a voyeur.

I often felt we lived in a lighted house of glass, and that any moment some thin-lipped parchment face would peer through a carelessly unshaded window to obtain a free glimpse of things that the most jaded voyeur would have paid a small fortune to watch.

Many of the people who consented to talk about their private lives in front of millions of television viewers would say that they were sharing their stories as a way to give comfort [to] fellow sufferers, to raise public awareness, to give a voice to their pain. None of them would ever admit that it was all about ratings and voyeurism and lurid, grotesque curiosity.

...it was a miraculous thing to be able to watch the person you love undetected,

Nick was still looking at him sideways, but a flush began to appear on his cheeks. Kelly swallowed hard, growing warmer. “You remember that night?” “Yeah, I do.” “You . . . you were, um . . . impressive.” “I knew you were watching,” Nick murmured. “Exhibitionist.” “Voyeur.

What they call philosophy I call literature; what they call literature I call journalism; what they call journalism I call gossip; and what they call gossip I call (generously) voyeurism.

All unknowns, at first, at least, to me, until I, like Columbus, “discovered” them. Is voyeurism a form of imperialism?

I wondered how the public's consumption of others' pain and suffering cross the line from empathy to voyeurism. How quickly have we, as a society, become numb to the struggles of others, our capacity for compassion eroded by the sheer volume of human drama we're exposed to daily? We were just characters in a soap opera now, except the drama was real, and the consequences permanent. Our grief had been reduced to a mere commodity, packaged and sold, consumed and discarded.

Complicated, shmomplicated,'' she said, waving her hand. ''If you love her, you make it work.

I focus on the words in front of me and continue reading the book that has now turned me into a voyeur through no fault of its own.

because movies were a religion in that moment, they could change you, alter your perception, you could rise toward the screen and share a moment of transcendence, all the disappointments and fears would be wiped away for a few hours in that church: movies acted like a drug for me. But they were also about control: you were a voyeur sitting in the dark staring at secret things, because that’s what movies were—scenes you shouldn’t be seeing and that no one on the screen knew you were watching.

I dreamed of making love to her under the stars.

Just don’t stare at my ass, Landemere,” he added. “I wasn’t staring at your ass,” Arranulf, who had been staring at his ass, said.

Tragedy whores don’t feel the foundation break apart beneath their feet—the reeling blast of emptiness, though to watch them you might think so. They’re voyeurs. They feed like coffin flies on drama, embroiled in virtual grief and the illusion of heartbreak. They all have stories they want to tell, insist on telling, proclaiming their link to tragedy. Emotional rubberneckers.

Ask me for money, Peter.” I grabbed his wrists and pushed him against the wall. He looked everywhere but at me, no attempt to free himself. He was definitely stronger than I, but right that second I didn’t care if he was being patronizing. If it forced him to answer me, then patronizing I’d take. “No,” he murmured. “Ask me for money, goddamn you.” I punctuated it with a slam of his wrists, hard enough to jar, but not painful—I hoped. The next time my shirt wouldn’t be there to cushion it. I was that pissed. “I have!” He spat back, easily extricating his hands and pushing me away. I grabbed his arm, turning him around. “For Cai. For sex. Not for you. You’d rather go fuck a bunch of strangers—” “I don’t fuck anyone but Darryl anymore,” he denied. “It’s just a show for a bunch of voyeurs. No one gets hurt.” “I get hurt!” “I don’t have any other way, Austin.” “You have me. Ask me,” I said, hating the pleading sound in my voice. “No.” “Jesus Christ, why the fuck not?” “Because I don’t want you to be a fucking trick!” The shout was so loud I felt the vibrations along my spine.

Damn Speakers! I always forget about her sneaky little spies. The image of a little voyeur squirrel hanging around outside my window and then running to Jenna to report any indiscretions on my part was absolutely horrifying.

I likened her to the slender PSYCHÉ and judged that the perfection of her face ennobled everything unclean around her: The dusty hems of her bunched-up skirt, the worn straps of her nightshirt; the blackened soles of her bare feet [...] All this and the pungent air! Ô this night, sweet pungent night! "HÉBÉ" may come but a season. But this girl's season would know a hot spring and an Indian summer.

My yoga teacher says to think of your thoughts like skateboarders passing through our line of vision; just watch them go by, don't try to follow them down the street.

All medical men are voyeurs. Why else would they become doctors? Except for the sadists, of course, who simply enjoy the blood and the pain.

Though I felt like a voyeur to some kind of disaster, my eyes were riveted to the scene ...

Silence sits like a voyeur with popcorn, watching both of us.

Facebook knows almost everything about their lives, their families and their friends . . . It is also a platform built on exhibitionism and voyeurism, where users edit themselves to exhibit a more flattering side and they quietly spy on their friends.

Yet the Narrator’s quest is not only for his own identity and vocation. He seeks an understanding of art, sexuality and worldly and political affairs: he is a snoop and a voyeur; he comments and classifies; his taxonomic impulse makes the novel appear to be a vast compendium, replete with burrowing wasps and bedsteads, military strategies, stereoscopes, asparagus and aeroplanes.

WHEN WAS IT THAT I BECAME A VOYEUR in their midst? I was the perfect witness, an unsuspected anthropologist disguised within the body of a young girl, surrounded by other young girls who were part of the family. Yet I was a cuckoo in the nest, an imposter who listened and observed, hoarding and collecting information.

His [the pedestrian's] elevation transfigures him into a voyeur. It puts his at a distance. It transforms the bewitching world by which one was 'possessed' into a text that lies before one's eyes. It allows one to read it, to be a solar Eye, looking down like a god. The exaltation of a scopic and gnostic drive: the fiction of knowledge is related to this lust to be a viewpoint and nothing more.

...take down your baby bump photos from Facebook, take down pictures of your kids too. It is your job to protect your children and not parade them around like little circus freaks or glorified mini-you’s.

Travers’s problem is how to come to terms with the violence that has pursued his life - not merely the violence of accident and bereavement, or the horrors of war, but the biomorphic horrors of our own bodies. Travers has at last realized that the real significance of these acts of violence lies elsewhere, in what we might term “the death of affect”. Consider our most real and tender pleasures - in the excitements of pain and mutilation; in sex as the perfect arena, like a culture-bed of sterile pus, for all the veronicas of our own perversions, in voyeurism and self-disgust, in our moral freedom to pursue our own psychopathologies as a game, and in our ever greater powers of abstraction. What our children have to fear are not the cars on the freeways of tomorrow, but our own pleasure in calculating the most elegant parameters of their deaths. The only way we can make contact with each other is in terms of conceptualizations. Violence is the conceptualization of pain. By the same token psychopathology is the conceptual system of sex.

Most men don't mind if another woman watches. It's the women who are watching who don't want to be seen.

S___ likes being around other people; she just isn't particularly comfortable talking to them. She supposes that she is some variety of voyeur, enjoying the spectacle, breathing in the atmosphere, while experiencing uneasiness when asked to become part of it. None of this makes her unhappy. The life of a wallflower, she often thinks, is not such a terrible life.

When did this become a thing with us?” “Since we went to this restaurant,” I told him, “and you looked at a lemon posset like you wanted to have sex with it. I have to feed you the dessert so it’s a threesome, not voyeurism.

I’d always been content knowing Lyra was mine, this secret voyeur who belonged to me in the shadows of the night. I never expected that I’d want to be hers though. That I wanted to belong to her just as much as she belonged to me.

When I came out of the wagon, he had her in a dramatic dip and was giving her a kiss. I set the needle and thread next to my shirt and waited. It seemed like a good kiss. I watched with a calculating eye, dimly aware that at some point in the future I might want to kiss a lady. If i did, I wanted to do a decent job of it. After a moment my father noticed me and stood my mother back on her feet."That will be ha'penny for the show, Master Voyeur,"he laughed. "What are you still here for, boy? I'll bet you the same ha'penny that a question slowed you down.

Prostitution is illegal in many places, but porn is not. But what is porn if not sex for money, caught on camera? What the law actually prohibits then is having paid sex in private and not allowing anyone to watch.

Just like real sex, the touching was good, but there came a point in time when a woman needed to be filled - deeply.

I want to spy on all sorts of places, and the box is a portable hole that occurred to me under the circumstances, it being impossible to punch holes throughout the world.

I watched you undress. Shame on you!

Götter sind Voyeure, keine Bediensteten. Und was sie antreibt ist aller höchstens Neugier, nicht Mitgefühl.

Some even “peek through” their computer screens to see themselves on FB as others see them, in order to be sure of who they really are. In effect, they have become self-voyeurs!

I was born with a lazy eye. It didn’t define me as a person. It did, however, define me as a voyeur.

Watching a film was like being a voyeur, living vicariously.

Pain by itself is just Pain. But Pain + Distance can = entertainment, voyeurism, human interest, cinéma vérité, a good belly chuckle, a sympathetic smile, a raised eyebrow, disguised contempt.

There’s a lot of dirty theology out there, the religious counterpart to dirty politics and dirty business, I suppose. You might call it spiritual pornography—a kind of for-profit exploitative nakedness. It’s found in many of the same places as physical pornography (the Internet and cable TV for starters), and it promises similar things: instant intimacy, fantasy and make-believe, private voyeurism and vicarious experience, communion without commitment. That’s certainly not what we’re after in these pages. No, we’re after a lost treasure as old as the story of the Garden of Eden: the...

The longstanding effort to "colorize" feminist theory by inserting the experiences of women of color represents at best genuine efforts to reduce bias in Women's Studies. But at its worst, colorization also contains elements of both voyeurism and academic colonialism. As a result of new technologies and perceived profitability, we can now watch black-and-white movie classics in color. While the tinted images we are offered may be more palatable to the modern viewer, we are still watching the same old movie that was offered to us before. Movie colorization adds little of substance-its contributions remain cosmetic. Similarly, women of color allegedly can teach White feminists nothing about feminism, but must confine ourselves to "colorizing" preexisting feminist theory. Rather than seeing women of color as fully human individuals, we are treated as the additive sum of our categories.

It’s not any fun in the dark,” he said, and she saw his eyes brimming with tears that glistened in the moonlight. She really felt sorry for him—even she. For what could be more pitiful than a voyeur in the dark?

ast year’s Best-Sex-Scene-in-a-film winner Vince Voyeur’s real name turns out to be John LaForme. Rhetorical Q.: How, if one’s real name was John LaForme, could that person possibly feel the need for a nom de guerre?

That’s where Time magazine lives … way out there on the puzzled, masturbating edge, peering through the keyhole and selling what they see to the big wide world of Chamber of Commerce voyeurs who support the public prints.

Most of us will. We'll choose knowledge no matter what, we'll maim ourselves in the process, we'll stick our hands into the flames for it if necessary. Curiosity is not our only motive: love or grief or despair or hatred is what drives us on. We'll spy relentlessly on the dead: we'll open their letters, we'll read their journals, we'll go through their trash, hoping for a hint, a final word, an explanation, from those who have deserted us--who've left us holding the bag, which is often a good deal emptier than we'd supposed. But what about those who plant such clues, for us to stumble on? Why do they bother? Egotism? Pity? Revenge? A simple claim to existence, like scribbling your initials on a washroom wall? The combination of presence and anonymity--confession without penance, truth without consequences--it has its attractions. Getting the blood off your hands, one way or another. Those who leave such evidence can scarcely complain if strangers come along afterwards and poke their noses into every single thing that would once have been none of their business. And not only strangers: lovers, friends, relations. We're voyeurs, all of us. Why should we assume that anything in the past is ours for the taking, simply because we've found it? We're all grave robbers, once we open the doors locked by others. But only locked. The rooms and their contents have been left intact. If those leaving them had wanted oblivion, there was always fire.

Great men were always average men, that summoned the courage, honor and will to do extraordinary things that would change the world. A feat of natural determination born of a perceived need. These men and women speak for each of us for all time, and their lives and deaths we watch come and go because it is so much easier to play Voyeur than Hero.

And I though about people all over the world, having panic attacks. We all must, right? Even those with the soundest of mind must come face to face, sometimes, with the fact that we will die one day. What varies is how we cope with it.

Come one, come all! Welcome to the world's greatest entertainment since the fall of Rome. Life, death, victims, voyeurs. The best of society, the lowest of plebians. And to keep it all extremely interesting, today's patrons could very easily be tomorrow's entertainment. All compliments of the ultimate showman - Fate. All that's missing is the coliseum.

The world’s people are in peril. We no doubt live in a noisy, numb, narcissistic age. The talents and attentions of the majority are not invested in personal mastery and social responsibility but squandered on games, voyeurism, and base sensationalism. We have recklessly abandoned what truly matters—the striving to be great as individuals and as a society—for the glamour and thrill of speed, convenience, and vain expression, in a kind of humanity-wide midlife crisis. Gone are the big visions; here are the quick wins and the sure things. Effort has lost out to entitlement. In the transition to our age of self-adoration and conceit, the page turned long ago on the dreams to rise as a people. Greatness is so rarely sought, and generation after generation fail to hold the line of human goodness and advancement. Why? Because

A change in direction was required. The story you finished was perhaps never the one you began. Yes! He would take charge of his life anew, binding his breaking selves together. Those changes in himself that he sought, he himself would initiate and make them. No more of this miasmic, absent drift. How had he ever persuaded himself that his money-mad burg would rescue him all by itself, this Gotham in which Jokers and Penguins were running riot with no Batman (or even Robin) to frustrate their schemes, this Metropolis built of Kryptonite in which no Superman dared set foot, where wealth was mistaken for riches and the joy of possession for happiness, where people lived such polished lives that the great rough truths of raw existence had been rubbed and buffed away, and in which human souls had wandered so separately for so long that they barely remembered how to touch; this city whose fabled electricity powered the electric fences that were being erected between men and men, and men and women, too? Rome did not fall because her armies weakened but because Romans forgot what being Roman meant. Might this new Rome actually be more provincial than its provinces; might these new Romans have forgotten what and how to value, or had they never known? Were all empires so undeserving, or was this one particularly crass? Was nobody in all this bustling endeavor and material plenitude engaged, any longer, on the deep quarry-work of the mind and heart? O Dream-America, was civilization's quest to end in obesity and trivia, at Roy Rogers and Planet Hollywood, in USA Today and on E!; or in million-dollar-game-show greed or fly-on-the-wall voyeurism; or in the eternal confessional booth of Ricki and Oprah and Jerry, whose guests murdered each other after the show; or in a spurt of gross-out dumb-and-dumber comedies designed for young people who sat in darkness howling their ignorance at the silver screen; or even at the unattainable tables of Jean-Georges Vongerichten and Alain Ducasse? What of the search for the hidden keys that unlock the doors of exaltation? Who demolished the City on the Hill and put in its place a row of electric chairs, those dealers in death's democracy, where everyone, the innocent, the mentally deficient, the guilty, could come to die side by side? Who paved Paradise and put up a parking lot? Who settled for George W. Gush's boredom and Al Bore's gush? Who let Charlton Heston out of his cage and then asked why children were getting shot? What, America, of the Grail? O ye Yankee Galahads, ye Hoosier Lancelots, O Parsifals of the stockyards, what of the Table Round? He felt a flood bursting in him and did not hold back. Yes, it had seduced him, America; yes, its brilliance aroused him, and its vast potency too, and he was compromised by this seduction. What he opposed in it he must also attack in himself. It made him want what it promised and eternally withheld. Everyone was an American now, or at least Americanized: Indians, Uzbeks, Japanese, Lilliputians, all. America was the world's playing field, its rule book, umpire, and ball. Even anti-Americanism was Americanism in disguise, conceding, as it did, that America was the only game in town and the matter of America the only business at hand; and so, like everyone, Malik Solanka now walked its high corridors cap in hand, a supplicant at its feast; but that did not mean he could not look it in the eye. Arthur had fallen, Excalibur was lost and dark Mordred was king. Beside him on the throne of Camelot sat the queen, his sister, the witch Morgan le Fay.

They never saw him drawing pictures of them naked at their antics in his notebook.

Maybe I just want someone who knows what to do with me.

She sat with me in the dark and loved me through it.

Fuck, Oaklyn,” I breathed. “Not yet,” she panted out of breath. “But maybe someday.

Oaklyn was either going to make me or destroy me. I just hoped it was the former, because I didn’t have much more left to destroy.

Voyeurism was a form of control, like mental abuse, like rape, like bullying. It was nothing to do with the physicality of the action, and all to do with the feeling of power it gave the perpetrator, the balancing out of delicate ids and egos.

And just how does that benefit you as a reader? A voyeur, essentially. You have no intimate connection with these fictional characters.” “Says who? I happen to get very attached to my fictional boyfriends.” Yet another frown. “Boyfriends?” “I read a lot.

God, baby, I need you inside me so bad…” My husky moan fogged the glass, obscuring my view of the deep fried and smothered in chocolate goodness just one creepy glass lick away from being all mine.

Helen Holm había pasado toda su vida en tardes de tres horas sentada en las salas de lucha, desde Iowa hasta Steering, observando a muchachos de diversa complexión, sudorosos y entrelazados. Helen señalaría, años más tarde, que el hecho de haber pasado su infancia en una sala de lucha libre la había convertido en una lectora. “Nací para ser espectadora”, decía Helen. “Me crié para ser voyeur.

My poor scapegoat, I almost love you but would have cast, I know, the stones of silence. I am the artful voyeur of your brain's exposed and darkened combs, your muscles' webbing and all your numbered bones: I who have stood dumb when your betraying sisters, cauled in tar, wept by the railings, who would connive in civilized outrage yet understand the exact and tribal, intimate revenge. -"Punishment

She has never been in the presence, before, of two people who are in love with each other. She feels like a stray child, ragged and cold, with her nose pressed to a lighted window. A toy-store window, a bakery window, with fancy cakes and decorated cookies. Poverty prevents her entrance. These things are for other people; nothing for her.

You think of travelers as bold, but our guilty secret is that travel is one of the laziest ways on earth of passing the time. Travel is not merely the business of being bone-idle, but also an elaborate bumming evasion, allowing us to call attention to ourselves with our conspicuous absence while we intrude upon other people’s privacy — being actively offensive as fugitive freeloaders. The traveler is the greediest kind of romantic voyeur, and in some well-hidden part of the traveler’s personality is an unpickable knot of vanity, presumption, and mythomania bordering on the pathological. This is why a traveler’s worst nightmare is not the secret police or the witch doctors or malaria, but rather the prospect of meeting another traveler. Most writing about travel takes the form of jumping to conclusions, and so most travel books are superfluous, the thinnest, most transparent monologuing. Little better than a license to bore, travel writing is the lowest form of literary self-indulgence: dishonest complaining, creative mendacity, pointless heroics, and chronic posturing, much of it distorted with Munchausen syndrome.

Human beings crave for novelty and welcome even wars. Who opens the morning papers without the wild hope of huge headlines announcing another great disaster? Provided of course that it affects other people and not oneself. Rupert liked order. But there is no man who likes order who does not give houseroom to a man who dreams of disorder. The sudden wrecking of the accustomed scenery, so long as one can be fairly sure of a ringside seat, stimulates the bloodstream. And the instinctive need to feel protected and superior ensures, for most of the catastrophes of mankind, the shedding by those not immediately involved of but the most crocodile of tears.

Friends are great, except, I never know what to do with them. I see other people and it all seems so natural. They laugh and talk and make plans to talk and laugh some more at a later date. I would probably throw a fry at them and hope they were distracted enough not to notice me running away.

In films, we are voyeurs, but in novels, we have the experience of being someone else: knowing another person's soul from the inside. No other art form does that. And this is why sometimes, when we put down a book, we find ourselves slightly altered as human beings. Novels change us from within.

What Harry means is, he has a taste for “felonious voyeurism.” It happens. Lawyers, judges, cops, and jurors all find themselves titillated from time to time by the stories of violence, drugs, and sex. The criminal side of the law provides a window on the dark side of life that exists nowhere else.

At its worst, the woke cult of transgenders is a cross between voyeurism and morbidity, a fascination with the sexually bizarre, a politically correct version of snuff pornography. It’s at the “intersectionality” of the lassitudinous culture of the Hamptons and the depraved sexual ennui of Hollywood.

I don't run for my physical health, though that's a lucky side effect. I run because I'm tortured inside. I run to soothe the violence in my mind, the depression, the panic, the disappointments, the shame, the frustration, the helplessness against time. You could say I'm running from something... though I'd rather think I'm running TOWARD something. Though I'm probably running just to stay in one place. It seems like most of life is just maintenance, after all.

Big Brother has no interest in well-informed citizens capable of critical thinking. Big Brother wants you to shop at Wal-Mart, where He will control the media that influences your life. The media works with the government and with the large corporations to form mass culture, which is utilized to create public consent, and most folks aren’t even aware of this process as it goes on all around them. Big Brother is actively seeking the complacency of the wage-slaves. Big Brother doesn’t want you to know about the spoken word performances given by Henry Rollins, or Jello Biafra or Terrence McKenna- or a thousand other people- because they will crack your laminate of societal posturing. Big Brother doesn’t want you to know about Bill Hicks, because Brother Bill will provide you with the courage and impetus to spit in Big Brother’s face. The internet is but one facet of our mass-marketed popular culture, and everyone is plugged into it. If you’re reading this, you are a part of it, the internet, one large hive mind, a singular consciousness. And that can be a good thing, but too often, people let themselves slip into it, into this world, to the point where they are no longer able to differentiate between what they think, what they know, and what is thrust upon them. They have no access to their own point of view, or their own spiritual consciousness, for lack of a better way to phrase it. So, to answer your question, in a lengthy and circuitous fashion, I would say that disgust with intellectual sloth, puerile voyeurism and dissent are the primary proponents in my work.

Oh, there was a certain pleasure. And don’t ever underestimate people, don’t ever underestimate the pleasure they receive from viewing pain that is not their own, from delivering bad news, watching bombs fall on television, from listening to stifled sobs from the other end of a telephone line. Pain by itself is just Pain. But Pain + Distance can = entertainment, voyeurism, human interest, cinéma vérité, a good belly chuckle, a sympathetic smile, a raised eyebrow, disguised contempt.

But love of our parents is the only love for which we are not responsible. And perhaps we are responsible even for the love we feel for our parents. I envied other students back then who had dissociated themselves from their parents and thus from the entire generation of perpetrators, voyeurs, and the willfully blind, accommodators and accepters, thereby overcoming perhaps not their shame, but at least their suffering because of the shame. But what gave rise to the swaggering self-righteousness I so often encountered among these students? How could one feel guilt and shame, and at the same time parade one’s self-righteousness? Was their dissociation of themselves from their parents mere rhetoric: sounds and noise that were supposed to drown out the fact that their love for their parents made them irrevocably complicit in their crimes?

that Adam liked it when Ronan talked like this. Sometimes they would stop talking and instead begin kissing, and Opal would eavesdrop on this as well. Her capacity for voyeurism was boundless and incorrigible. They were always coming together in surprising moments, going from easygoing to urgent in the space of a few breaths. She watched them kiss messily in the car in the driveway and she watched them tangle around each other in the laundry room and she watched Adam unbuckle Ronan’s belt and slide his hand against skin.

I had no one to point at. Certainly not my parents, because I had nothing to accuse them of. The zeal for letting in the daylight, with which , as a member of the concentration camps seminar, I had condemned my father to shame, had passed, and it embarrassed me. But what other people in my social environment had done, and their guilt, were in any case a lot less bad than what Hanna had done. I had to point at Hanna. But the finger I had pointed at her turned back to me. I had loved her. Not only had I loved her, I had chosen her. I tried to tell myself that I had known nothing of what she had done when I chose her. I tried to talk myself into the state of innocence in which children love their parents. But love of our parents is the only for which we are not responsible. And perhaps we are responsible even for the love we feel for our parents. I envied other students back then who had dissociated themselves from their parents and thus from the entire generation of perpetrators, voyeurs, and the willfully blind, accommodators and accepters, thereby overcoming perhaps not their shame, but at least their suffering because of the shame. But what gave rise to the swaggering self-righteousness I so often encountered among these students? How could one feel guilt and sahme and at teh same time parade one's self-righteousness? Was their dissociation of themselves from their parents ere rhetoric: sounds and noise that were supposed to drown out the fact that their love for their parents made them irrevocably complicit in their crimes? These thoughts did not come until later, and even later they brought no comfort. How could it be a comfort that the pain I went through because of my love for Hanna, was, in a way, the fate of my generation, a German fate, and that it was only more difficult for me to evade, more difficult for me to manage than for others. All the same, it would have been good for me back then to be able to feel I was part of my generation.

Braden: "How do you do that?" Laura: "Do what?" Braden: "Make me crazy with just a kiss. It makes me feel like I'm sixteen.

You seem like a woman in need of a healthy dose of me.

Your stick doesn’t magically get waxed on its own and eventually, you’ll give yourself blisters.

Hoping to move forward with physical therapy.

To Rachel and Georgeanna. Ride or die, bitches.

If the teacher wasn’t excited about the material, then why would the students be?

I gasp in pain as the grinding sexual jealousy overwhelms me. I’m the reluctant voyeur in the forbidden room. I shouldn’t be here. I’m a trespasser in Bluebeard’s castle.

You like to live vicariously. An armchair voyeur.

Bestenfalls ein Bewacher. Schlimmstenfalls ein Voyeur.

When two people make love, it’s a beautiful thing to see. What I call art gazing, kind people call voyeurism, and the cops call being a peeping Tom.


The three of us made love like one of us was a voyeur. I was the only one using binoculars as a sex toy.


Psychologists were such voyeurs. They got off on true-life confessions, and then expected us to trust them. Not likely. Grabbing

Being a voyeur to love is easier than being in love, I think.

The French attitude to the Finnish War reminded one of the voyeur who gets his thrills out of other people’s manly exploits.

The French attitude to the Finnish War reminded one of the voyeur who gets his thrills out of other people’s virile exploits, which he is unable to imitate

Before I serve you duck soup, I'll serve you salad. Some people like salad dressing, but not me. I prefer salad undressing, because being a voyeur adds spice to the dinner.

This intrigued me much more. Simple, plangent words. What had I said about the voyeur inside me?

They were unabashed voyeurs looking at him; and Talese looked back.

In this image (watching sensual murder through a peephole) Lorrain embodies the criminal delight of decadent art. The watcher who records the crimes (both the artist and consumer of art) is constructed as marginal, powerless to act, and so exculpated from action, passive subject of a complex pleasure, condemning and yet enjoying suffering imposed on others, and condemning himself for his own enjoyment. In this masochistic celebration of disempowerment, the sharpest pleasure recorded is that of the death of some important part of humanity. The dignity of human life is the ultimate victim of Lorrain's art, thrown away on a welter of delighted self-disgust.

One consequence of opening women's spaces to males is to recast two common male sex crimes as rights. Exhibitionism - non-consensually displaying one's genitals - is so common that many women will tell you that the first time they saw a penis was when a stranger flashed them. Voyeurism - non-consensually viewing someone in a state of undress - is known to be a precursor to contact sex crimes. Entering a changing room constitutes consent to see and be seen by the other occupants while undressed. Women grant that consent on the basis that those occupants will be female; gender self-identification removes that basis while denying that it does so. It therefore turns facilities intended for women into places where males can commit exhibitionism and voyeurism with impunity.

Funny,” Venkat said. “Be a smart-ass to a guy seven levels above you at your company. See how that works out.” “Oh no,” Mindy said. “I might lose my job as an interplanetary voyeur? I guess I’d have to use my master’s degree for something else.” “I remember when you were shy.” “I’m space paparazzi now. The attitude comes with the job.” “Yeah, yeah,” Venkat said. “Just send the e-mail.” “Already sent.

Occasionally, I felt my consciousness rising out of my body during sex like sweat evaporating from skin. Then I'd be over there, standing in the corner of the room like a voyeur, watching us having sex.

To me reading is an almost sacred activity and the great novel is its high mass. The novel is so deeply powerful as an art form because of the investment of time and faith it demands. A good novel can sweep you up, quarry you out, illuminate you and truly inhabit your life. And, of course, although the writer composes the sentences of the novel the reader is a full participant in the imaginative process and far from a mere voyeur.

You have that whole Superman thing going on with your glasses.'' I said, pointing at my own face. He tilted his head and gave me a confuse look. Shit. I was so dumb. I'd have been better off letting the staring continue. ''I mean, like, because Superman wears glasses.'' ''You mean Clark Kent.'' ''Um...'' Now it was my turn to be confused. ''Clark Kent wears the glasses and when he takes them off he's Superman.'' ''Duh.'' I said with self-deprecating laugh. ''I'm more of a Marvel girl.'' ''That's a good choice. Marvel is better than DC any day.

Most users chose to run a “voyeur channel,” which was like being the star of your own twenty-four-hour reality show. Hovering virtual cameras would follow your avatar around the OASIS as you went about your day-to-day activities.

It seems that the appetite for pictures showing bodies in pain is as keen, almost, as the desire for ones that show bodies naked. For many centuries, in Christian art, depictions of hell offered both of these elemental satisfactions.

And walking back from the river I remember the galling loneliness of my adolescence, from which I do not seem to have completely escaped. It is the sense of the voyeur, the lonely, lonely boy with no role in life but to peer in at the lighted windows of other people’s contentment and vitality. It seems comical -- farcical -- that, having been treated so generously, I should be struck with this image of a kid in the rain walking along the road shoulders of East Milton.

There is very little that is natural left in people when they stray from the cities. Day hiking in Gore-Tex with a bag of trail mix and a cell phone in a fanny pack and a bottle of iced chai tea clipped to your belt isn’t actually natural, it’s tourism, or worse, voyeurism.

... television looks to be an absolute godsend for a human subspecies that loves to watch people but hates to be watched itself. For the television screen affords access only one-way. A psychic ball-check valve. We can see Them; They can’t see Us. We can relax, unobserved, as we ogle. I happen to believe this is why television also appeals so much to lonely people. To voluntary shut-ins. Every lonely human I know watches way more than the average U.S. six hours a day. The lonely, like the fictive, love one-way watching. For lonely people are usually lonely not because of hideous deformity or odor or obnoxiousness—in fact there exist today support- and social groups for persons with precisely these attributes. Lonely people tend, rather, to be lonely because they decline to bear the psychic costs of being around other humans. They are allergic to people. People affect them too strongly. Let’s call the average U.S. lonely person Joe Briefcase. Joe Briefcase fears and loathes the strain of the special self-consciousness which seems to afflict him only when other real human beings are around, staring, their human sense-antennae abristle. Joe B. fears how he might appear, come across, to watchers. He chooses to sit out the enormously stressful U.S. game of appearance poker. But lonely people, at home, alone, still crave sights and scenes, company. Hence television. Joe can stare at Them on the screen; They remain blind to Joe. It’s almost like voyeurism.

In films, we are voyeurs, but in novels, we have the experience of being someone else: knowing another person's soul from the inside. No other art form does that. And this is why, sometimes, when we put down a book, we find ourselves slightly altered as human beings. Novels change us from within.

Perhaps the only people with the right to look at images of suffering of this extreme order are those who could do something to alleviate it— say, the surgeons at the military hospital where the photograph was taken—or those who could learn from it. The rest of us are voyeurs, whether or not we mean to be.

Trace started to wave toward Matt, still with Priss wrapped around him, and she blurted, “I love you, Trace.” That effectively drew him to a halt. His hands contracted on her backside. “What?” “I love you.” Then she pointed at Chris, and to where Matt had disappeared. “They told me to fess up, so I am, and if you reject me, I swear I’ll drown them both.” Very slowly, Trace’s expression changed from the heat of anger to a different type of heat. “Say it again.” “Why?” She frowned at him with challenge. “Why don’t you say something first?” “All right.” Sliding his hands up her back, over her shoulders, and into her wet hair, he kissed her. “You make me nuts, Priscilla.” He turned his head and kissed her again, a little longer this time. “You make me hot as hell, too.” “I love you,” Priss reminded him, hoping it might prompt him to a more telling declaration. His next kiss lasted long enough to take the chill off the lake, and Priss got so wrapped up in the taste of him that she almost forgot what she wanted to hear. Chris didn’t. From the dock, he said, “If you’re going to keep her waiting like this, someone needs to finish putting sunscreen on her.” Trace moved fast, grabbing for Chris’s ankle, but Chris jumped back out of reach. Priss, feeling very affected by that kiss, nuzzled Trace’s neck and stroked his shoulders. He smelled delicious, felt even better. “Stop being a voyeur, Chris, and go away.” Having joined Chris on the dock, Matt asked, “Does that mean I can stay?” Trace lurched forward again, and Matt jumped back so quick he fell on his butt. “I’m going. I’m going!” To bring Trace’s attention back to her, Priss bit him. Not a hard bite, but she felt the impression of her sharp teeth on that sensitive spot where his neck met his shoulder. Trace shuddered. “I love you, too.” She licked the bite mark. “I’m so glad.

Perhaps the only people with the right to look at images of suffering of this extreme order are those who could do something to alleviate it - say, the surgeons at the military hospital where the photograph was taken - or those who could learn from it. The rest of us are voyeurs, whether or not we mean to be.

How did we end up here? There was a moment, when she first turned back that blanket, when we looked into each other’s eyes and a blue current crackled between us and our bodies made a sudden decision: we were going to say the word “cum” to each other. It had to be done; the story had given us no choice; there was no turning back. “Who did it?” we wonder. She thinks it must have been a pervert who “gets off on voyeurism of porno,” but I think it was probably a businessman with a hotel fetish who shouted the word “amenities!” as he came. “A jizzness man, you mean,” she says, and I feel like I just taught a baby how to read.

Measured sounds slipped out of the bedroom at the end of the hall. Jin relaxed his hold. He snuck a peek at Flick and immediately regretted it when a moan slithered beneath the closed door. "Aren't we going to see?" Flick asked, eyes wide. "To-" Jin stopped and faced her fully. "Oh-ho, Felicity. What have we here? A voyeur?

By eroding their sense of shame we've made immorality normal, not only in the world but also in the forbidden squadron. ...their new Christian friends recommended some of the movies Fletcher had been wondering if he should now avoid. I was delighted one of them said, "This is a great movie--only one sex scene, and the f-word's only used a few times." 'Titanic' is one of my favorites. How many Christian young people have watched it in their own homes? Think of it, Squaltaint. Suppose someone in the youth group said to the boys, 'There's an attractive girl down the street. Let's get together and go look through her window and watch her undress and lay back on a couch and pose naked from the waist up. Then this girl and her boyfriend will get in a car and have sex--let's get as close as we can and listen to them and watch the windows steam up.' The strategy would never work. They'd know immediately it was wrong. But you can get them to do exactly the same thing by using a television instead of a window. That's all is takes! Think of it, Squaltaint. Every day Christians across the country, including many squadron leaders, watch women and men undress and commit acts of fornication and adultery the Enemy calls an abomination. We've made them a bunch of voyeurs! Churches full of peeping toms.

Gerald Foos's explanation in his journal--he was 'only an observer and not a reporter,' and he 'really didn't exist as far as the male and female subjects were concerned'--were explanations that didn't surprise me because of his often-expressed notion that he was a fractured individual, a hybridized combination of the Voyeur and Gerald Foos

A little of him leaned to the muscularity of the homosexual. He would never practice, of course. The physical buttock act repelled him. Though sometimes he experienced a jolting warmth when Tom, one of his friends, bear-hugged him. Or gave him a bristled kiss on a bristled cheek. Certainly there was masculine voltage there. But it was safe. It was the rose border to the act. And like a voyeur, he could peer into the tropical garden from the safety of the rose border. He could experience male pillage of his sex mentally. Yes, it was safe. He would never step from the rose to the man-eating orchid. English rain and misty sun, yes. The hints, yes. But he would never take his machete into the jungle.

Personally I believe sometimes ugly things happen to good people and sometimes good people do awful things.

Satan's warming me a throne, that's how long [I've been watching you]. Not a chair, not a seat at the bar. The big guy's got a throne with my name on it.

There is the satisfaction of being able to look at the image without flinching. There is the pleasure of flinching.

The quiet ones are always the freakiest. They have the biggest secrets.

No matter the life we have now, we’ll be fine in the long run.

And while your age should probably make me an old pervert, I don’t give a fuck.

That’s a good choice. Marvel is better than DC any day.

I wouldn't change anything if it meant I was here in his arms at the end of all of it.If it means I got to spend every night with him under the stars.

around my thighs as I watched her thumbs hook

You can laugh about it or you can cry about it, Erik. Pick your poison, but I’d prefer to laugh.

As I watched them I knew I'd probably never be like that.

Think of the trees, Will! And now I need more tissue, you selfish, cowardly coward! You’re killing trees!

It’s going to take a couple of years, but I’m determined to have my own veterinary surgery one day.

Readers are keepers of secrets: as an illicit page is turned, as a dangerous truth is inferred. The pulse quickens. Something explosive ticks between the lines. There is an intake of breath; the voyeur's silent flare of recognition. All the while, his or her face is impassive, unremarkable even, because like all subversives, readers lead careful double lives.

... television looks to be an absolute godsend for a human subspecies that loves to watch people but hates to be watched itself. For the television screen affords access only one-way. A psychic ball-check valve. We can see Them; They can’t see Us. We can relax, unobserved, as we ogle. I happen to believe this is why television also appeals so much to lonely people. To voluntary shut-ins. Every lonely human I know watches way more than the average U.S. six hours a day. The lonely, like the fictive, love one-way watching. For lonely people are usually lonely not because of hideous deformity or odor or obnoxiousness—in fact there exist today support- and social groups for persons with precisely these attributes. Lonely people tend, rather, to be lonely because they decline to bear the psychic costs of being around other humans. They are allergic to people. People affect them too strongly. Let’s call the average U.S. lonely person Joe Briefcase. Joe Briefcase fears and loathes the strain of the special self-consciousness which seems to afflict him only when other real human beings are around, staring, their human sense-antennae abristle. Joe B. fears how he might appear, come across, to watchers. He chooses to sit out the enormously stressful U.S. game of appearance poker. But lonely people, at home, alone, still crave sights and scenes, company. Hence television. Joe can stare at Them on the screen; They remain blind to Joe. It’s almost like voyeurism.

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. The voyeurism and busybodyism that impel writers and readers of biography alike are obscured by an apparatus of scholarship designed to give the enterprise an appearance of banklike blandness and solidity. The biographer is portrayed almost as a kind of benefactor. He is seen as sacrificing years of his life to his task, tirelessly sitting in archives and libraries and patiently conducting interviews with witnesses. There is no length he will not go to, and the more his book reflects his industry the more the reader believes that he is having an elevating literary experience, rather than simply listening to backstairs gossip and reading other people’s mail. The transgressive nature of biography is rarely acknowledged, but it is the only explanation for biography’s status as a popular genre. The reader’s amazing tolerance (which he would extend to no novel written half as badly as most biographies) makes sense only when seen as a kind of collusion between him and the biographer in an excitingly forbidden undertaking: tiptoeing down the corridor together, to stand in front of the bedroom door and try to peep through the keyhole.

Celebrities are our heroes and heroines now, discussed the next day over latte or lunch. We have such a strong need to talk to each other, to have some commonality of story, that we're finding it in celebrities. In effect, we're turning reality into fiction. Using actors and actresses, just off duty. And how is this working for us? Not great. It leaves us with a perennially empty feeling. We find the celebrities empty, and at some level, we find ourselves empty for paying them so much attention. We've become reluctant voyeurs, and at some level, we know they're just people trying to live their lives. Our culture begins to lack content, depth, and substance. We miss the richness of human experience that story embodies, reflects, and carries forward. We might have to go back to reading books. Yay!

Then she took of her panties and handed them to me. I tossed them on the bed and got undressed. I felt a breath of estrangement in the room and thought she might be a voyeur of her own experience, living at an angle to the moment and recording in some state of future-mind. But then she pulled me down, snatched a fistful of hair and pulled me into a kiss, and there was a heat in her, a hungry pulse that resembled a gust of being.

And don’t ever underestimate people, don’t ever underestimate the pleasure they receive from viewing pain that is not their own, from delivering bad news, watching bombs fall on television, from listening to stifled sobs from the other end of a telephone line. Pain by itself is just Pain. But Pain + Distance can = entertainment, voyeurism, human interest, cinéma vérité, a good belly chuckle, a sympathetic smile, a raised eyebrow, disguised contempt.

You haven’t gotten to the point of leaving a glass for her, too.” He covered his eyes but said nothing. She pulled away his hands, and then, looking straight at him, asked, “She’s alive, isn’t she?” He nodded and sat up. “Rong, I used to think that a character in a novel was controlled by her creator, that she would be whatever the author wanted her to be, and do whatever the author wanted her to do, like God does for us.” “Wrong!” she said, standing up and beginning to pace the room. “Now you realize you were wrong. This is the difference between an ordinary scribe and a literary writer. The highest level of literary creation is when the characters in a novel possess life in the mind of the writer. The writer is unable to control them, and might not even be able to predict the next action they will take. We can only follow them in wonder to observe and record the minute details of their lives like a voyeur. That’s how a classic is made.” “So literature, it turns out, is a perverted endeavor.” “It was like that for Shakespeare and Balzac and Tolstoy, at least. The classic images they created were born from their mental wombs. But today’s practitioners of literature have lost that creativity. Their minds give birth only to shattered fragments and freaks, whose brief lives are nothing but cryptic spasms devoid of reason. Then they sweep up these fragments into a bag they peddle under the label ‘postmodern’ or ‘deconstructionist’ or ‘symbolism’ or ‘irrational.’” “So you mean that I’ve become a writer of classic literature?” “Hardly. Your mind is only gestating an image, and it’s the easiest one of all. The minds of those classic authors gave birth to hundreds and thousands of figures. They formed the picture of an era, and that’s something that only a superhuman can accomplish. But what you’ve done isn’t easy. I didn’t think you’d be able to do it.” “Have you ever done it?” “Just once,” she said simply, and dropped the subject. She grabbed his neck, and said, “Forget it. I don’t want that birthday present anymore. Come back to a normal life, okay?” “And if all this continues—what then?” She studied him for a few seconds, then let go of him and shook her head with a smile. “I knew it was too late.” Picking up her bag from the bed, she left. Then

I gain nothing but pleasure from writing fiction; short stories are foreplay, novellas are heavy petting – but novels are the full monte. Frankly, if I didn't enjoy writing novels I wouldn't do it – the world hardly needs any more and I can think of numerous more useful things someone with my skills could be engaged in. As it is, the immersion in parallel but believable worlds satisfies all my demands for vicarious experience, voyeurism and philosophic calithenics. I even enjoy the mechanics of writing, the dull timpani of the typewriter keys, the making of notes – many notes – and most seducttive of all: the buying of stationery. That the transmogrification of my beautiful thoughts into a grossly imperfect prose is always the end result doesn't faze me: all novels are only a version- there is no Platonic ideal. But I'd go further still: fiction is my way of thinking about and relating to the world; if I don't write I'm not engaged in any praxis, and lose all purchase.

Studying him, I nodded. “So, you need someone like Bryan? Who doesn’t drink, smoke or do drugs, who goes to bed at a reasonable hour and gets up at 5:00 a.m. to work out?” Because if so, I was not that person. I loved wine. We were in a relationship.

The beatings are further proof that Spike's "humiliation," the level to which he has sunk, and a physical sign of vulnerability. But they are also "sexy wounds" (as Buffy playing Robot-Buffy says in "Intervention"), since Spike's body is displayed to be looked at. Further, as with Angel and Dru, Spike and Buffy's relationship uses pain/violence as eroticism (when Spike tells Buddy "I love you," she responds "You're in love with pain" ["Smashed"]). Mulvey's association of voyeurism, sadism, and narrative is useful here.

Outsiders call the streets and alleys that comprise her world the slum. For her, it is just the place where she stays. You’d never happen onto her block unless you lived there too, or had lost your way, or were out on an evening lark seeking the pleasures yielded by the other half. The voyeurs on their slumming expeditions feed on the lifeblood of the ghetto, long for it and loathe it. The social scientists and the reformers are no better with their cameras and their surveys, staring intently at all the strange specimens.

Walking was a habit he'd been unwilling to give up. He couldn't see the point in shutting himself up in a vehivle any more often than he had to, doing damage to the earth and the air in order to avoid using his body. People did just that all the time, though. Most claimed they needed to save time. It was true they had little enough of that-- their lives were so soon ended. But Nathan didn't see them treating time as precious otherwise. They'd sit in their cars at a fast-food place for fifteen minutes when it would be quicker to park and go inside. No, he blamed the modern culture of urgency. Only the most urgent sensations, emotions, and situations were considered important. They called it living life to the fullest. Not surprisingly, many sought numbness in alcohol or the pervasive voyeurism of reality TV while others tried to live a perpetual peak experience through drugs, sex, or celebrity. Ordinary lives, ordinary living had little value. Nathan thought people needed to wash dishes by hand sometimes. Prepare their own meals more often. And take walks.

These two developments throw light on what is perhaps the most fundamental difference between the Renaissance and all previous periods of art. We have repeatedly seen that there were these circumstances which could compel the artist to make a distinction between the "technical" proportions and the "objective;" the influence of organic movement, the influence of perspective foreshortening, and the regard for the visual impression of the beholder. These three factors of variation have one thing in common: they all presuppose the artistic recognition of subjectivity. Organic movement introduces into the calculus of artistic composition the subjective will and the subjective emotions of the thing represented; foreshortening the subjective visual experience of the artist; and those "eurhythmic" adjustments which alter that which is right in favor of what seems right, the subjective visual experience of a potential beholder. And it is the Renaissance which, for the first time, not only affirms but formally legitimizes and rationalizes these three forms of subjectivity.

In the darkness of my soul, I have wondered if God enjoys watching despair, the way voyeurs watch sex. That would explain a great deal of human history! My faith in the meaning of Jesus's life and in Christian doctrine has been shaken to its core ...if I am to sustain my belief in a good and loving God who is not arbitrary and capricious and vicious, I must believe that some higher purpose is served by all this...and the greatest service I can do Emilio Sandoz is to make it possible for him to discover what that purpose may have been.

It’s easier to show the world what they want to see, but it doesn’t change who we really are. And there will be people who come and go and never see past the veneer you wear. There will be people who try to see deeper but are easily convinced there is nothing but the shell.

El cigarro se consumió, casi hasta la yema de mis dedos, y lo tiré a la calle. Ella captó el gesto; dio un respingo, amusgó los ojos para verme y se puso rígida. Su confusión –no obstante la oscuridad, vi cómo se le enrojecían las puntas de las orejas– me desconcertó hasta que me acordé de mi ropa masculina. ¡Me tomó por un voyeur insolente! La idea me produjo una extraña mezcla de vergüenza y turbación no exentas, lo confieso, de placer. Toqué mi sombrero de paja y lo levanté, cortésmente. –Buenas noches, mi amor –dije, en voz baja y perezosa.

Meanwhile the Zenias of this world are abroad in the land, plying their trade, cleaning out male pockets, catering to male fantasies. Male fantasies, male fantasies, is everything run by male fantasies? Up on a pedestal or down on your knees, it's all a male fantasy: that you're strong enough to take what they dish out, or else too weak to do anything about it. Even pretending you aren't catering to male fantasies is a male fantasy: pretending you're unseen, pretending you have a life of your own, that you can wash your feet and comb your hair unconscious of the ever-present watcher peering through the keyhole, peering through the keyhole in your own head, if nowhere else. You are a woman with a man inside watching a woman. You are your own voyeur. The Zenias of this world have studied this situation and turned it to their own advantage; they haven't let themselves be moulded into male fantasies, they've done it themselves. They've slipped sideways into dreams; the dreams of women too, because women are fantasies for other women, just as they are for men. But fantasies of a different kind.

Artists were allowed to do that - to look, to gaze at others and try to find out what it was that they were feeling - but we, who were not artists, were not. If one looked too hard that would be considered voyeurism, or nosienss, which is what Cat, her neice, had accused her of more than once. Jamie - the boyfriend rejected by Cat but kept on by Isabel as a friend - had done the same althought more tactfully. He had said that she needed to draw a line in the world with me written on one side and you on the other. Me would be her business; you would be the business of others, and an invitation would be required to cross the line. She had said to Jamie: "Not a good idea, Jamie. What if people on the other side of the line are in trouble?" That's different," he said. "You help them." By streching a hand across this line of yours?" Of course. Helping people is different." She had said: "But then we have to know what they need, don't we? We have to be aware of others. If we went about concerned with only our own little world, how would we know when there was trouble brewing on the other side of the line?

You wanted the truth. You wanted my past and my secrets. You said you’d love me anyway. And now that I’m letting you in and you’ve seen what you wanted to see, you’re rejecting me. I guess I’m not the only one who lied,” she whispers, taking a step back, her hand still gripped tight around the handle of the blade. “You’re nothing but a voyeur, are you. You wanted to look into the heart of darkness. You wanted to see where the limits were. And then you found none. Like a child, playing with fire. You stamped it out while I burned the whole barn down and set myself free.

I’d forgotten how fun it is to dance in front of mirrors. Halfway into the track, I accidentally burst out laughing, in a normal and hopefully not rude way, at the fact that I’m taking an Afro-Caribbean dance class in a gentrified neighborhood of East Los Angeles taught by a white woman for white women— a bunch of Rachel Dolezals shaking our nonexistent asses. Afterward, I become sad, feeling guilty about my obvious role in gentrification and my voyeurism into cultures I know nothing about, but which seem “exciting” in the abstract, in comparison to my mundane and sheltered existence.

Directness is exactly what gets lost in the Greek Revolution. Later sculptures may be more supple than Phrasikleia, they may be far more adventurous in their poses. But they do not engage with their viewers like she does. In fact, if you try to look them in the eye many of them coyly avoid your gaze, and many of them, like the Boxer, seem lost in their own world. It is almost as if the involved viewer has become an admiring voyeur and we are one step on the way to sculpture becoming an art object. Phrasikleia is determinedly resisting being an art object and one thing she’s not is coy.

Gather close, and let us speak of nasty little shits. Oh, come now, we are no strangers to the vicious demons in placid disguises, innocent eyes so wide, hidden minds so dark. Does evil exist? Is it a force, some deadly possession that slips into the unwary? Is it a thing separate and thus subject to accusation and blame, distinct from the one it has used? Does it flit from soul to soul, weaving its diabolical scheme in all the unseen places, snarling into knots tremulous fears and appalling opportunity, stark terrors and brutal self-interest? Or is the dread word nothing more than a quaint and oh so convenient encapsulation of all those traits distinctly lacking moral context, a sweeping generalization embracing all things depraved and breath takingly cruel, a word to define that peculiar glint in the eye—the voyeur to one’s own delivery of horror, of pain and anguish and impossible grief? Give the demon crimson scales, slashing talons. Tentacles and dripping poison. Three eyes and six slithering tongues. As it crouches there in the soul, its latest abode in an eternal succession of abodes, may every god kneel in prayer. But really. Evil is nothing but a word, an objectification where no objectification is necessary. Cast aside this notion of some external agency as the source of inconceivable inhumanity—the sad truth is our possession of an innate proclivity towards indifference, towards deliberate denial of mercy, towards disengaging all that is moral within us. But if that is too dire, let’s call it evil. And paint it with fire and venom. There are extremities of behaviour that seem, at the time, perfectly natural, indeed reasonable. They are arrived at suddenly, or so it might seem, but if one looks the progression reveals itself, step by step, and that is a most sad truth.

Dandy, sans pitié demandée, sans pitié donnée, chevalier solitaire, moine en dentelle, paillard chipoteur, artiste difficile, prince du faste, héros aveugle ou voyeur des fascinations qu'il suscite et décourage, officiant missionné du culte sans rituel d'une beauté qu'il veut et sait toujours inaccessible. Flèche inexorable au fulgurant tracé, tel est le dandy, fidèle à son engagement total. Aucune cible terrestre ne saurait l'arrêter, et les plus captivantes sont pour lui transparentes. C'est au cœur même de Dieu qu'il doit atteindre, flèche de désir, c'est au cœur de Dieu qu'il doit ficher son cri.

Each time she boarded the train that would take her away from Linares and from Francisco, she was beset with the unpleasant feeling that, in her absence, their relationship would change and she would be left outside, like an intruder in her own home, a voyeur who can only look in through a crack in a closed window. She was afraid that, far away from each other, she would change and he would change in opposite directions, so that they would never find one another again. She was afraid that one day they would look at each other and not recognize each other's voices, intentions, looks, or the warmth of their bodies in the bed.

Voyeurism is a general term for people who get sensual satisfaction from looking, often with the knowledge, consent, and even full participation of the sexual object. (..) the eye is one of the organs of love. (..) Voyeuristic fantasies reverse the woman’s power, it passes from her to the eye of the man. By keeping himself hidden or invisible, the voyeur imposes his will on the woman. She has lost her ability to say no; has been unknowingly frozen into the position of an indulgent mother who allows the boy everything he wants. (..) Wanting to see, but afraid to look, men invent voyeuristic fantasies to heal a paradox, the conflict in themselves.

The novelist Zadie Smith once wrote that when she was a girl, she was constantly imagining what it would be like to grow up in the homes of her friends. “I rarely entered a friend’s home without wondering what it might be like to never leave,” she wrote. “That is, what it would be like to be Polish or Ghanaian or Irish or Bengali, to be richer or poorer, to say these prayers or hold those politics. I was an equal-opportunity voyeur. I wanted to know what it was like to be everybody. Above all, I wondered what it would be like to believe the sorts of things I didn’t believe.” What a fantastic way to train your imagination in the art of seeing others.

You ever choked? You know what I mean, fumbled at the goal line, stuck your foot in your mouth when you were trying to ask that girl on a date, had a brain freeze on the final exam you were totally prepared for, lipped out a three-foot putt to win the golf tournament, or been paralyzed by the feeling of “Oh my god life can’t get any better, do I really deserve this?” I have. What happens when we get that feeling? We clench up, get short of breath, self-conscious. We have an out-of-body experience where we observe ourselves in the third person, no longer present, now not doing well what we are there to do. We become voyeurs of our moment because we let it become bigger than us, and in doing so, we just became less involved in it and more impressed with it. Why does this happen? It happens because when we mentally give a person, place, or point in time more credit than ourselves, we then create a fictitious ceiling, a restriction, over the expectations we have of our own performance in that moment. We get tense, we focus on the outcome instead of the activity, and we miss the doing of the deed. We either think the world depends on the result, or it’s too good to be true. But it doesn’t, and it isn’t, and it’s not our right to believe it does or is. Don’t create imaginary constraints. A leading role, a blue ribbon, a winning score, a great

Mr. Harris kept glancing up and down Omar’s body, lingering around his chest and his groin. At first, Omar pretended not to notice. It was a compulsive kind of looking, one that cis people indulged in when they believed they could do it without being seen, though it was so common to catch them looking that their lack of shame was obvious.

You have eyes like a mermaid," he murmured. "Soft, pale green. Beautiful." "I knew it was only a matter of time before you walked in during my bath," Lara said, trying to sound calm although her heart was pounding. "Your request to see me in that negligee made it quite evident that you're a shameless voyeur." Hunter grinned. "I've been found out, it seems. But you can't blame me for it." "Why not?" "After more than a year of sexual deprivation, a man has to have some pleasure." "You could expend your energy on something more productive," Lara suggested as he came closer to the bath. "Develop a hobby... collect something... take up chess or pugilism." His eyes twinkled at her prim tone. "I do have a hobby, madam." "Which is what?" "Admiring you." She shook her head with a reluctant smile. "If you weren't so annoying, my lord, you would almost be charming." "If you weren't so beautiful, I wouldn't be annoying." He gave her an easy masculine grin. "But I plan to annoy you often, madam, and someday you'll like it." He took another step toward the tub. "Brace yourself- I'm coming closer." Lara went rigid, thinking of covering herself, screaming, splashing him... but she did none of those things. She remained in the tub, stretched before him like a pagan sacrifice. Hunter made no obvious show of staring at her, but she knew that he took in every detail of her body as it shimmered beneath the scented water.

You think of travellers as bold, but our guilty secret is that travel is one of the laziest ways on earth of passing the time. Travel is not merely the business of being bone-idle, but also an elaborate bumming evasion, allowing us to call attention to ourselves with our conspicuous absence while we intrude upon other people’s privacy – being actively offensive as fugitive freeloaders. The traveller is the greediest kind of romantic voyeur, and in some well-hidden part of the traveller’s personality is an unpickable knot of vanity, presumption and mythomania bordering on the pathological. This is why a traveller’s worst nightmare is not the secret police or the witch doctors or malaria, but rather the prospect of meeting another traveller.

MINDY READ the Morse code aloud. “ROLLED. FIXING NOW.” “What? That’s it?” Venkat said over the phone. “That’s all he said,” she reported, cradling the phone as she typed out an e-mail to the list of interested parties. “Just three words? Nothing about his physical health? His equipment? His supplies?” “You got me,” she said. “He left a detailed status report. I just decided to lie for no reason.” “Funny,” Venkat said. “Be a smart-ass to a guy seven levels above you at your company. See how that works out.” “Oh no,” Mindy said. “I might lose my job as an interplanetary voyeur? I guess I’d have to use my master’s degree for something else.” “I remember when you were shy.” “I’m space paparazzi now. The attitude comes with the job.” “Yeah, yeah,” Venkat said. “Just send the e-mail.” “Already sent.

Mindy read the Morse code aloud. "ROLLED. FIXING NOW." "What? That's it?" Venkat said over the phone. "That's all he said," she reported, cradling the phone as she typed out an e-mail list of interest parties. "Just three words? Nothing about his physical health? His equipment? His supplies?" "You got me," she said. "He left a detailed status report. I just decided to lie for no reason." "Funny," Venkat said. "Be a smart-ass to a guy seven levels above you at your company. See how that works out." "Oh no," Mindy said. "I might lose my job as an interplanetary voyeur? I guess I'd have to use my master's degree for something else." "I remember when you were shy." "I'm the space paparazzi now. The attitude comes with the job." "Yeah, yeah," Venkat said. "Just send the e-mail." "Already sent.

The undressed male is not presented to the little girl as a seductive figure, but as a scary one. Consequently, in the long pre-sexual years she has no chance to develop the association between a naked man and the erotic. (..) Women’s looking is not powered by the voyeur’s kind of infantile and irresistible longing. (..) In our society, female exhibitionism is a form of seduction, but male exhibitionism is a hostile act. The man who flashes his penis at a woman who has not asked to see it (..) is trying to overcome his feeling of powerlessness (..) Every day, I hear from saddened or angered men about the averted feminine eye, the hand withdrawn as if from a red-hot coal. I would like to ask women readers: How must it feel to be the gender that has a sexual organ considered so nasty that nobody, not even the woman who says she loves you, wants to look at it?

In Desperate Need of a Hero   Dear red, white, and blue Is there still hope for you? I wonder   Perhaps with someone in power Who slaves by the hour To remain true?   A person of dignity Who’s not a give-me Or quota-fill   No reek of greed No corruptive seed Growing unchecked   A leader who can inspire Who raises people higher Than themselves   A soul with grace Not colored by race Of any kind   A take-charge warrior An environmental voyeur Who loves this planet   A Hero to lead With only one creed: America   Where do we find such belief? When do we get the relief? Of being loved in return   We’d die for the President Would he pay the same rent? Of course not!   Your sacrifice we do not require We serve willingly, sire If you’re worthy If you will get your hands a bit dirty To further our lives And enrich our minds To earn our trust It’s all or bust And always America first!

He held me much closer than Carl had. His grip was firm and possessive. It left no doubt in anyone’s mind who I belonged to and that alone sent a thrill through me that I knew was wrong. He imprisoned me in the unwavering chains of his gaze, leaving me powerless to break away while he scrutinized my soul. I wondered what he was looking for. “You came.” The hand on my waist slid over the swell in my spine where it connected to the rise of my backside. His palm flattened against the spot and I was drawn even closer, eliminating what modicum of space there had been between us. My soft frame was cradled seamlessly into the unyielding length of his in all the places that counted, thighs, pelvis, stomach … breasts. I couldn’t even breathe without feeling the skim of my hardened nipples against his chest. I couldn’t move without feeling his cock reaching for me through miles of fabric to prod into my midsection. He was long and hard and I grew wet from that knowledge alone. “Gabriel…” “I couldn’t leave without having this dance with you.” My fingers tightened around his shoulder. “Why?” His quiet exhalation whispered over the curve of my cheeks, smelling of mint and despair. “Because the further away I got from you, the more it felt like if I kept driving, I would lose you for good and that scared me like nothing else.

It’s easier to show the world what they want to see, but it doesn’t change who we really are. And there will be people who come and go and never see past the veneer you wear. There will be people who try to see deeper but are easily convinced there is nothing but the shell.” He dipped his head to make sure I could meet his eyes. “Then there are people like me who know who you are, inside and out, and there is nothing that would ever change that. No mistake, no atrocity, nothing.

It was torture to be starving and not being able to eat. All I could think about was my face and my chewing and how much food was on my fork when I brought it to my mouth. Eating in front of people was like stripping and standing there naked for everyone to judge. My mind was in a constant state of panic wondering if I looked like a pig when I was eating, or if I was chewing too loud. Or worse, what if I ate too much and everyone saw what my mom always saw: a fat sob that could do with losing a few meals? The thought always left me in cold chills.

My intention, this time, was to transfer a play to the screen while keeping its theatrical character. It was in some senses a matter of walking, invisibly, around the stage and catching the different aspects and nuances in the play, the urgency and the facial expressions that escape a spectator who cannot follow them in detail from a seat in the stalls. Apart from that, I had noticed how effective a play becomes when you have a bird's-eye view from it, for example from the flies, that is to say from the viewpoint of a voyeur. The Audience is enclosed with the characters in a room lacking its fourth wall and listens to them on equal terms, without the element of my story conferred on scenes of intimacy by the whimsical shape of a keyhole.” “L'aigle à deux têtes is not History. It is a story, an invented story lived out by imaginary heroes, and I should never have dared venture into the realistic world of cinema without being able to rely on the help of Christian Bérard. He has a genius for situating whatever he touches, for giving it a depth in time and space and an appearance of truth that are literally inimitable.” (...) “A drama of this kind would be unacceptable, and almost impossible to tell, unless it was interpreted by superb actors who could instill grandeur and life into it. Edwige Feuillère and Jean Marais, applauded evening after evening in their parts in the play, surpass themselves on the screen and give of themselves, as I suggested above, everything that they cannot give us on the stage.” “George Auric's music and the Strauss waltzes at the krantz ball make up the liquid in this drama of love and death is immersed.” (...) “In L'aigle à deux têtes, I wanted to make a theatrical film.” (...) “I know the faults of the film, but unfortunately the expense of the medium and the constraints of time that it imposes on us, prevent us from correcting our faults, Cinematography costs too much.” (...) “In Les parents terribles (1948), what I determined to do was the opposite of what I did in L'aigle à deux têtes; to de-theatricalize a play, to film it in chronological order and to catch the characters by surprise from the indiscreet angle of the camera. In short, I wanted to watch a family through the keyhole instead of observing its life from a seat in the stalls.

People today are used to seeing not only the incredible but the impossible as well, all provided by the mega-pixel. We witness miracles and dismiss them as diversions. The line between reality and fantasy has been blurred to the point that we no longer know what it is we see, and so put little faith in the experience. And there is no darkness anymore, no place for things like mystery and magic to make their abode. There is nothing nowadays that is not exposed, caught on camera and pixilated to be stored and classified forever in some phantom zone called cyber space. Nothing is too small to remain unseen by our microscopes or too far away to be seen by our satellites. The world is a strumpet, every inch of her exposed and explored. Whether she is thrusting herself into the camera's gaze, or we as voyeurs intrude upon her most intimate moments, nothing is left to the imagination. The world today is all light and no darkness. But too much light can blind. An excess of it deprives our eyes from the necessary contrast required to give definition to what we see. The light precludes magic, gives us explanations in its place. It denies love and informs us of the chemicals in the brain that are active given certain conditions. We have gained knowledge but in the process we have been forced to surrender the very reasons we sought knowledge in the first place.

Jackson. Wait.” He didn’t turn to face me when I finally reached him. Staring at his back, I scrambled for something to say. Why hadn’t I thought this through? In the end, watching him not even turn to face me, anger won out. “What the fuck, Jackson?” “Go back to your fiancée.” With a growl, I gripped his shoulder, forcing him to turn and then shoving him back into the wall. His eyes looked like they were holding back their own storm, daring me to push one more time. I was about to push a whole lot harder if it meant getting something out of him. “Talk to me.” I wanted it to be a command, but it came out as more of a plea. He took a deep breath, closing his eyes. When he opened them, I almost stepped back from how angry they were. “What do you want me to say? You’re not gay,” he sneered, beginning to back me up with each word. “You would never. Which I found pretty damn shocking since you loved being deep inside me, spilling your cum. Fucking me—a man—like a desperate fucking freight train.” He threw my words I’d stupidly sputtered to his brother back in my face. “I’m sorry,” I whispered. “Fuck you,” Jackson growled before bumping my shoulder to walk past me. Digging my hands in my hair, frustration rose inside me, pulling me under, drowning me. I was losing control and I couldn’t breathe because of it. “I’M SORRY, OKAY?” I shouted. “I fucked up. I panicked. This is all new to me—liking a guy. Fooling around with you when I’m engaged. I can’t just talk about it. I fucking panicked and I’m sorry. So fucking sorry.” He let my apology linger, and I held my breath waiting. “Okay.” Okay? Okay? Was he fucking kidding me? I spilled my guts and it was okay? “No. It’s not fucking okay. This isn’t okay.” A fiery burn built behind my eyes, stinging my nose, but I wasn’t going to stop because he finally turned back to me. “I miss you. You won’t touch me, or kiss me, or sit with me, or hold me. Nothing. And I fucking miss you.” I choked on the last few words praying he wouldn’t turn away. It was the most honest I’d been with him—with myself—about my feelings for him. My heart thundered, and hands trembled from how nervous I was. Nervous that the words felt so right coming from my lips. Nervous about what it really meant, that I left Carina behind, so I could chase Jackson down and plead with him to not leave me. “Can we please go back? Can you please forgive me?” It wasn’t just about sex and exploring. Right there in the stairwell, getting lost in him, begging him to stay and care, it hit me. I was falling in love with him. With a man. I was falling in love with Jackson. While my fiancée sat upstairs, I realized I was falling in love with my best friend.

Catherine broke off as she saw something among the drafts of structures and landscapes and the pages of notes. A pencil sketch of a woman … a naked woman reclining on her side, light hair flowing everywhere. One slender thigh rested coyly over the other, partially concealing the delicate shadow of a feminine triangle. And there was an all-too-familiar pair of spectacles balanced on her nose. Catherine picked up the sketch with a trembling hand, while her heart lurched in hard strikes against her ribs. It took several attempts before she could speak, her voice high and airless. “That’s me.” Leo had lowered to the carpeted floor beside her. He nodded, looking rueful. His own color heightened until his eyes were startlingly blue in contrast. “Why?” she whispered. “It wasn’t meant to be demeaning,” he said. “It was for my own eyes, no one else’s.” She forced herself to look at the sketch again, feeling horribly exposed. In fact, she couldn’t have been more embarrassed had he actually been viewing her naked. And yet the rendering was far from crude or debasing. The woman had been drawn with long, graceful lines, the pose artistic. Sensuous. “You … you’ve never seen me like this,” she managed to say, before adding weakly, “Have you?” A self-deprecating smile touched his lips. “No, I haven’t yet descended to voyeurism.” He paused. “Did I get it right? It’s not easy, guessing what you look like beneath all those layers.” A nervous giggle struggled through her mortification. “If you did, I certainly wouldn’t admit it.” She put the sketch onto the pile, facedown. Her hand was shaking. “Do you draw other women this way?” she asked timidly. Leo shook his head. “I started with you, and so far I haven’t moved on.” Her flush deepened. “You’ve done other sketches like this? Of me unclothed?” “One or two.” He tried to look repentant. “Oh, please, please destroy them.” “Certainly. But honesty compels me to tell you that I’ll probably only do more. It’s my favorite hobby, drawing you naked.” Catherine moaned and buried her face in her hands. Her voice slipped out between the tense filter of her fingers. “I wish you would take up collecting something instead.

Over time, the active verbs of the Shema-recite, walk, talk, lie down, rise, bind, fix, write, all in the service of love-become too much for us to imagine, let alone perform. Our search for superpowers has created many of the most pressing problems of our time. The defining mental activity of our time is scrolling Our capacities of attention, memory, and concentration are diminishing; to compensate, we toggle back and forth between infinite feeds of news, posts, images, episodes - taking shallow hits of trivia, humor, and outrage to make up for the depths of learning, joy, and genuine lament that now feel beyond our reach. The defining illness of our time is metabolic syndrome, the chronic combination of high weight, high cholesterol, high blood pressure, and high blood sugar that is the hallmark of an inactive life. Our strength is atrophying and our waistline expanding, and to compensate, we turn to the superpowers of the supermarket with the aisles of salt and fat convincing our bodies’ reward systems, one bite at a time, that we have never been better in our life. The defining emotional challenge of our time is anxiety, the fear of what might be instead of the courageous pursuit of what could be. Once, we lived with allness of heart, with a boldness of quest that was too in love with the good to call off the pursuit when we encountered risk. Now we live as voyeurs, pursuing shadowy vestiges of what we desire from behind the one-way mirror of a screen, invulnerable but alone. And, of course, the soul is the plane of human ex- istence that our technological age neglects most of all. Jesus asked whether it was worth gaining the whole world at the cost of losing one's soul. But in the era of superpowers, we have not only lost a great deal of our souls-we have lost much of the world as well. We are rarely overwhelmed by wind or rain or snow. We rarely see, let alone name, the stars. We have lost the sense that we are both at home and on a pilgrimage in the vast, mysterious cosmos, anchored in a rich reality beyond ourselves. We have lost our souls without even gaining the world. So it is no wonder that the defining condition of our time is a sense of loneliness and alienation. For if human flourishing requires us to love with all our hearts, souls, minds, and strength, what happens When nothing in our lives develops those capacities? With what, exactly, will we love?

Editing is the most obvious way of manipulating vision. And yet, the camera sometimes sees what you don’t - a person in the background, for example, or an object moving in the wind. I like these accidents. My first full-length film, Esperanza, was about a woman I befriended on the Lower East Side when I was a film student at NYU. Esperanza had hoarded nearly all the portable objects she had touched every day for thirty years: the Chock Full O’Nuts paper coffee cups, copies of the Daily News, magazines, gum wrappers, price tags, receipts, rubber bands, plastic bags from the 99-cent store where she did most of her shopping, piles of clothes, torn towels, and bric-a-brac she had found in the street. Esperanza’s apartment consisted of floor-to-ceiling stacks of stuff. At first sight, the crowded apartment appeared to be pure chaos, but Esperanza explained to me that her piles were not random. Her paper cups had their own corner. These crenellated towers of yellowing, disintegrating waxed cardboard stood next to piles of newspapers … One evening, however, while I was watching the footage from a day’s filming, I found myself scrutinizing a pile of rags beside Esperanza’s mattress. I noticed that there were objects carefully tucked in among the fraying bits of coloured cloth: rows of pencils, stones, matchbooks, business cards. It was this sighting that led to the “explanation.” She was keenly aware that the world at large disapproved of her “lifestyle,” and that there was little room left for her in the apartment, but when I asked her about the objects among the rags, she said that she wanted to “keep them safe and sound.” The rags were beds for the things. “Both the beds and the ones that lay down on them,” she told me, “are nice and comfy.” It turned out that Esperanza felt for each and every thing she saved, as if the tags and town sweaters and dishes and postcards and newspapers and toys and rags were imbued with thoughts and feelings. After she saw the film, my mother said that Esperanza appeared to believe in a form of “panpsychism.” Mother said that this meant that mind is a fundamental feature of the universe and exists in everything, from stones to people. She said Spinoza subscribed to this view, and “it was a perfectly legitimate philosophical position.” Esperanza didn’t know anything about Spinoza … My mother believed and I believe in really looking hard at things because, after a while, what you see isn’t at all what you thought you were seeing just a short time before. looking at any person or object carefully means that it will become increasingly strange, and you will see more and more. I wanted my film about this lonely woman to break down visual and cultural cliches, to be an intimate portrait, not a piece of leering voyeurism about woman’s horrible accumulations.