The disaster... is what escapes the very possibility of experience—it is the limit of writing. This must be repeated: the disaster de-scribes.

My being subsists only from a supreme point of view which is precisely incompatible with my point of view. The perspective in which I fade away for my eyes restores me as a complete image for the unreal eye to which I deny all images. A complete image with reference to a world devoid of image which imagines me in the absence of any imaginable figure. The being of a nonbeing of which I am the infinitely small negation which it instigates as its profound harmony. In the night shall I become the universe?

Express only that which cannot be expressed. Leave it unexpressed)

Every artist is linked to a mistake with which he has a particular intimate relation. There is the mistake of Homer, of Shakespeare — which is perhaps, for both, the fact of not existing. Every art draws its origin from an exceptional fault, every work is the implementation of this original fault, from which come to us a new light and a risky conception of plenitude.

We can never put enough distance between ourselves and what we love. To think that God is, is still to think of him as present; this is a thought according to our measure, destined only to console us. It is much more fitting to think that God is not, just as we must love him purely enough that we could be indifferent to the fact that he should not be. It is for this reason that the atheist is closer to God than the believer.

What if what has been said one time not only does not cease to be said but always recommences, and not only recommences but also imposes upon us the idea that nothing has ever truly begun, having from the beginning begun by beginning again.

A writer never reads his work. For him, it is the unreadable, a secret, and he cannot remain face to face with it. A secret, because he is separated from it.