“Every new Fashion is a refusal to inherit, a subversion against the oppression of the preceding Fashion; Fashion experiences itself as a Right, the natural right of the present over the past.”

Language is neither reactionary nor progressive; it is quite simply fascist; for fascism does not prevent speech, it compels speech.

I am interested in language because it wounds or seduces me.

The lover’s fatal identity is precisely this: I am the one who waits.

The book creates meaning, the meaning creates life.

A paradox: the same century invented history and photography. But history is a memory fabricated according to positive formulas, a pure intellectual discourse which abolishes mythic time; and the photograph is a certain but fugitive testimony.

The politician being interviewed clearly takes a great deal of trouble to imagine an ending to his sentence: and if he stopped short? His entire policy would be jeopardized!

I passed beyond the unreality of the thing represented, I entered crazily into the spectacle, into the image, taking into my arms what is dead, what is going to die.

To eat steak rare represents both a nature and a morality.

There is only one way left to escape the alienation of present day society: to retreat ahead of it.

If I had to create a god, I would lend him a “slow understanding”: a kind of drip-by-drip understanding of problems. People who understand quickly frighten me.

Myth is neither a lie nor a confession: it is an inflexion.

The art of living has no history: it does not evolve: the pleasure which vanishes vanishes for good, there is no substitute for it. Other pleasures come, which replace nothing. No progress in pleasures, nothing but mutations.

Wine is a part of society because it provides a basis not only for a morality but also for an environment; it is an ornament in the slightest ceremonials of French daily life, from the snack to the feast, from the conversation at the local cafT to the speech at a formal dinner.

I encounter millions of bodies in my life; of these millions, I may desire some hundreds; but of these hundreds, I love only one.

If I acknowledge my dependency, I do so because for me it is a means of signifying my demand: in the realm of love, futility is not a “weakness” or an “absurdity”: it is a strong sign: the more futile, the more it signifies and the more it asserts itself as strength.)

How does meaning get into the image? Where does it end? And if it ends, what is there beyond?