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"The homosexual has certain built-in advantages as a spokesman for the city. The search for the hero is not merely literary, and if alienation and loneliness are the marks of the city-dweller, the homosexual is set apart simply by being sexually categorized... In most homosexual lives, the search for a partner to go to bed with and/or love ruts across artificial social barriers; the bellboy and the ambassador, the governor and the mechanic may be found in each others company sub rosa. Exploring byways of the city usually, but not always, outside the bourgeois domestic circle, the homosexual gets to know the city in ways most people don't - strange places at strange hours. Secrets contain within themselves a hidden spring - the compulsion to reveal them - and this compulsion has something in it of the quality of history: the story not yet revealed, the truth under the appearance of it, the onion skin

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of facade endlessly waiting to be peeled away."

p. 66 New Yorker August 1, 1997 Howard Moss on [Carvaly?]

"precision, economy of statement, logic employed to ends that are disinterested, drawing and identifying, liberate... the imagination"

M. Moore in interview with Donald Hall.

"Walker Evens give us pictures or the Alabama tenant farmers and their children whom he and Agee met in 1936. He has stationed them, captured them in such a way that they are re-presented; first they were there, then they were approached - wrested, so to speak, from the flow or flux of their everydayness. That does not mean that they came close to seeing themselves as Evens saw them. He has given "them" (in the form of a moment of truth about their lives) to "us" with enough accuracy and power, it is hoped to make "us" regard ourselves - to a degree, at least - as he