"Our third American Tragedy is Martin Luther King. King was Mario Cuomo and Stevenson another way. Oh, he had some Roosevelt will to power, but Cuomo has a will to power, and Stevenson had a little, maybe more than I’m giving him credit for. He was who you wanted it to be, in a way. Old America. We’re singing spirituals again. We’re having dreams again. Well, that left mechanization entirely out of the question. There was no Hollywood there. There were no gangsters there. There was no World War II victory there. I hope everyone understands I’m being completely nonracist when I say he was Adlai Stevenson another way."

“Wonder was the grace of the country.”

“The work of television is to establish false contexts and to chronicle the unraveling of existing contexts; finally, to establish the context of no-context and to chronicle it.”

“Maybe that’s why everyone died young. Some of the questions you didn’t dare ask about Earth People’s Park were: Where is it? Who will run it? Will anyone want to do the real work? Like the global economy now, it was just something assumed, and the people in the room were there to embody the zeitgeist of it and kill the people who didn’t belong in the body of the zeitgeist.”

“By 1956, out of all the Cultural Avatars and Vectors available in 1950, THE GIRL had won. Authority. They’d won the war, in a way.”

“: …I saw when I was young that, in fact, when you got to the top or toward the top of things, you found, indeed, very flawed but glamorous people, people who were, in fact, not thinking about the kinds of problems that the blind man was thinking about in 1943, not acting intuitively and bravely and in some kind of harmony with nature as that blind man in Saboteur was acting, and certainly not taking on impossible tasks. People were acting in a kind of what I’ve come to call a deutero-Hemingway way: they were preserving their own vitality by being adventurous within the media. The James Stewart character is someone who roams the world, but with a camera, not a gun, and not like Schweitzer, setting up modes of change in impossible places. He’s touring the world adventurously in the interest of preserving his masculine independence, but he’s doing it with a camera.”

“…the film is moving to me because it shows his vital uniqueness walking—a new kind of old American, innocent, with old American experience, and that’s always been our formula, our innocence, plus a unique kind of experience that other people haven’t had in other lands—walking with all of that, plus physical beauty, into Rear Window—down-the-drain-land.”