“Thus every writer’s motto reads: mad I cannot be, sane I do not deign to be, neurotic I am.”

Physically, the Ventoux is dreadful. Bald, it’s the spirit of Dry: Its climate (it is much more an essence of climate than a geographic place) makes it a damned terrain, a testing place for heroes, something like a higher hell.

One must turn the tongue seven times in the mouth before speaking.

Today there is no symbolic compensation for old age, no recognition of a specific value: wisdom, perceptiveness, experience, vision.

Those who fail to reread are obliged to read the same story everywhere.

The text is a tissue of quotations drawn from the innumerable centres of culture.

We know that the war against intelligence is always waged in the name of common sense.

I make the other’s absence responsible for my worldliness.

This endured absence is nothing more or less than forgetfulness. I am, intermittently, unfaithful. This is the condition of my survival.

Frontiers are physical as well as symbolic constructions.

The author enters into his own death, writing begins.

What love lays bare in me is energy.

A photograph is always invisible, it is not it that we see.

New York is a city of geometric heights, a petrified desert of grids and lattices, an inferno of greenish abstraction under a flat sky, a real Metropolis from which man is absent by his very accumulation.

I have tried to be as eclectic as I possibly can with my professional life, and so far it’s been pretty fun.

I cannot classify the other, for the other is, precisely, Unique, the singular Image which has miraculously come to correspond to the speciality of my desire. The other is the figure of my truth, and cannot be imprisoned in any stereotype (which is the truth of others).

Isn’t the most sensitive point of this mourning the fact that I must lose a language – the amorous language? No more ‘I love you’s.