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And then in one year -- 1972, a time of astonishing ferment for Berger -- he published a novel called ''G'' that won the Booker Prize, and he took on television itself. Not just as a subject, but as a kind of guide or preacher, on camera, for a series called ''Ways of Seeing'' that some of us rate as vital to our education, a series that began with Berger, a spellbinder on the screen, with a slight lisp that could seem like whispered intimacy: ''It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it.''

That was what he had been on about all the time. Yes, John Berger loved art -- he had studied to be a painter once -- but in the end, or by 1972, he knew that its importance was in helping us face our surrounds -- put another way, are we surrounded (as in enclosed), or are we flowing into that larger world?

Well, that was nearly 30 years ago, and John Berger now is 75 -- a proper age for this salute in the form of ''The Shape of a Pocket,'' a collection of short, radiant essays on things seen, and the much larger ''Selected Essays,'' written over nearly 50 years. The choice is Geoff Dyer's, and he supplies a fond and very useful introduction. But he omits something I can add here.

In 1972, Berger was at a dizzy height in London (and beyond). He only added to his fame by responding to the Booker Prize (it was £5,000 then) with a proviso: that Booker fortune came from exploitation of the Caribbean, so half the money would go to the Black Panthers, and the other half to underwrite research on immigrant labor in Europe. Some thought that speech self-serving (it is included in ''Selected Essays''), and there has always been a little of the self-dramatist in Berger. But that way of handling Booker was a guide to Berger's future.

He backed off from London and celebrity -- long before the Groucho Club. He went to live in the French Alps, in conditions of great simplicity (there is an essay in the selection on burying a season's excrement). He pursued the subject of immigration in a series of books (''A Seventh Man,'' ''Into Their Labours,'' ''To the Wedding''). He found friendship with the Swiss filmmaker Alain Tanner (one of the least self-promoting film directors in the world) and did screenplays for him. And he has continued to write essays on art, photography and the way in which seeing places us in the whole world.

Walter Benjamin is an obvious comparison, and Berger admits that influence. I would add Chris Marker, the still little-known genius of documentary and what one might call ''films from my notebook.'' Or John Sassall, the fortunate man, that country doctor who went to live in the deep countryside and patiently served. The doctor's grace was in healing, treatment and the tender handling of finality. With Berger, it is in his way with words, and the infinite meanings he finds in that common but extraordinary thing, noticing.

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