“A Photograph Is Not an Opinion. Or Is It？” was written as an accompanying text to Annie Leibovitz's Women （Random House， 1999）.

“Danilo Kiš” is the introduction to Danilo Kiš， Homo Poeticus： Essays and Interviews， ed. Susan Sontag （Farrar， Straus and Giroux， 1995）.

“Homage to Halliburton” was published in Oxford American， March/April 2001.

“DQ” was published in Spanish translation in a National Tourist Board of Spain catalogue， “Espaa： Todo bajo el sol，” in 1985； it has never before appeared in English.

“The Very Comical Lament of Pyramus and Thisbe （An Interlude）” was written for the catalogue of an art exhibition in Berlin and first published there， in German translation， in Die Endlichkeit der Freiheit Berlin 1990， ed. Wulf Herzogenrath， Joachim Sartorius， and Christoph Tannert （Edition Hentrich， 1990）. It appeared in English in The New Yorker， March 4， 1991.

“Where the Stress Falls” appeared in The New Yorker， June 18，2001.

“Answers to a Questionnaire” was written in July 1997， in response to a questionnaire sent by a French literary quarterly. It was published， in French， in “Enquête： Que peuvent les intellectuels？ 36 écrivains répondent，” La Règle du jeu， n.s. 21 （1998）， and has never before appeared in English.九九藏书网

“Pedro Páramo” is the foreword to a new translation of Juan Rulfo， Pedro Páramo （Grove Press， 1994）.

“Borland's Babies” is the preface to Polly Borland's The Babies （Power House Books， 2001）.

“Gombrowicz's Ferdydurke” is the foreword to a new translation of Witold Gombrowicz， Ferdydurke （Yale University Press， 2000）.

“A Mind in Mourning” appeared in the Times Literary Supplement， February 25，2000.

“A Note on Bunraku” was a program note for performances of the Bunraku Puppet Theatre at the Japan Society in New York City on March 12—19，1983.

“The Wisdom Project” appeared in The New Republic， March 16，2001.

“A Letter to Borges，” written on the tenth anniversary of Borges's death and published in Spanish translation in the Buenos Aires daily Clarin， June 13，1996， has never before appeared in English.www.99lib.net

“Wagner's Fluids” was the program essay for a production of Tristan und Isolde staged by Jonathan Miller at the Los Angeles Opera in December 1987.

“Thirty Years Later...” is the preface to a new edition of the Spanish translation of Against Interpretation （Alfaguara，1996）. It was first published in English in Threepenny Review （Summer 1996）.

“On Bellocq” is the introduction to a new edition of E. J. Bellocq， Storyville Portraits （Jonathan Cape and Random House， 1996）.

“Singleness，” one of a group of essays inspired by Borges's “Borges y yo，” was collected in Who's Writing This？ ed. Daniel Halpern （Ecco Press， 1995）.

“Writing As Reading，” a contribution to a serise called “Writers on Writing” in The New York Times， appeared on December 18，2000.

“In Memory of Their Feelings” was written for the catalogue Dancers on a Plane： Cage， Cunningham， Johns， which accompanied an exhibit at the Anthony d' Offay Gallery in London from October 31 to December 2， 1989.99lib•net

“Waiting for Godot in Sarajevo” was first published in The New York Review of Books， October 21， 1993.

“A Place for Fantasy” appeared in House and Garden， February 1983.

“The Pleasure of the Image” appeared in Art in America， November 1987.

“One Hundred Years of Italian Photography” is the foreword to Italy： One Hundred Years of Photography （Alinari， 1988）.

“Writing Itself： On Roland Barthes” is the introduction to A Barthes Reader， ed. Susan Sontag （Hill and Wang， 1982）.

“Questions of Travel” appeared in the Times Literary Supplement， June 22， 1984.

“A Lexicon for Available Light” appeared in Art in America， December 1983.

“Novel into Film： Fassbinder's Berlin Alexanderplatz” appeared in Vanity Fair， September 1983.

“A Poet's Prose” was written as an introduction to Marina Tsvetaeva， Captive Spirit： Selected Prose （Virago Press， 1983）.www.99lib.net

“An Ecstasy of Lament” was the program essay for a production of Pelléas et Mélisande staged by Robert Wilson at the Salzburg Festival in July 1997.

“The Idea of Europe （One More Elegy）”started as a talk delivered at the conference on Europe held in Berlin in late May 1988. It has never before appeared in English.

“About Hodgkin” was written for Howard Hodgkin Paintings， the catalogue of an exhibition organized by the Modern Art Museum of Fort Worth， Texas， in 1995， and subsequently seen at the Metropolitan Museum in New York. It was first published in Britain by Thames & Hudson in 1995.

“A Century of Cinema” was written for and first published in German translation in Frankfurter Rundschau， December 30，1995.

“Afterlives： The Case of Machado de Assis” is the foreword to a reprinting of Epitaph of a Small Winner （FSG/Noonday Press， 1990）.

“Walser's Voice” is the preface to Robert Walser， Selected Stories， ed. Susan Sontag （Farrar， Straus and Giroux， 1982）.九*九*藏*书*网

“‘There’ and ‘Here’” appeared in The Nation， December 25， 1995.

“Joseph Brodsky” was written in 1997 as the afterword to Mikhail Lemkhin， Joseph Brodsky/Leningrad Fragments （Farrar， Straus and Giroux， 1998）.

“Certain Mapplethorpes” is the preface to Robert Mapplethorpe's Certain People： A Book of Portraits （Twelvetrees Press， 1985）.

“Dancer and the Dance” first appeared in French Vogue， December 1986， in French translation and in English.

“On Being Translated” was a speech given in November 1995 at a conference on translation held at Columbia University and organized by Francesco Pellizzi， the editor of Res， and printed in Res 32 （Autumn 1997）.

“On Lincoln Kirstein” is a revision， done in 1997 for a publication by the New York City Ballet， of a tribute to Lincoln Kirstein written ten years earlier， on his eightieth birthday， which appeared in Vanity Fair， May 1987.