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and character a screen - a hard, impenetrable screen - against which he projected the images of himself he wanted the world, the viewer, to accept."

... This shell - call it cynicism if you want - habituated him to living a life of superficial emotions. Surface pleasures, surface displeasures - these were all he would allow himself. He wanted nothing in the way of deeper, more lasting emotions, whether pleasurable or not. Which is why I think he was so attracted to acting and filmmaking

... he substituted superficial feelings and you might say appetite. In fact I would describe Roman even today as a man of deep appetites rather than deep emotions. Not that you should infer that he is shallow or superficial. On the contrary, he is a very complex man. It is just that he is dominated by appetite rather than

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emotions. Appetites cannot be hurt. They can only be satisfied or denied."

Joyce became necessary with cities. He stamps street maps onto the convolutions of the brain to render a barely tolerable complexity.

Donald Barthelme

1.31.82

The Rise of Andy Warhol by Robert Hughes

New York Review of Books Feb. 18.82 p.7

But in general, his only subject was detachment: the condition of being a spectator, dealing hands-off with the world through the filter of photography.

... the dissociations of gaze and empathy induced by the mass media: the banal punch of tabloid newsprint, the visual jabber and bright sleazy color of TV, the sense of glut and anesthesia caused by both.

..."She reads at such a pace... when I asked her where she had learnt to read so