As a language, Garbo's singularity was of the order of the concept, that of Audrey Hepburn is of the order of the substance; the face of Garbo is an Idea, that of Hepburn, an Event.

Every exploration is an appropriation.

I call the discourse of power any discourse that engenders blame, hence guilt, in its recipient.

I love you is unsubtle. It removes explanations, facilities, degrees, scruples.

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

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

In 1850, August Salzmann photographed, near Jerusalem, the road to Beith-Lehem (as it was spelled at the time): nothing but stony ground, olive trees; but three tenses dizzy my consciousness: my present, the time of Jesus, and that of the photographer, all this under the instance of 'reality' - and no longer through the elaborations of the text, whether fictional or poetic, which itself is never credible down to the root.