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

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

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!

For the photograph's immobility is somehow the result of a perverse confusion between two concepts: the Real and the Live: by attesting that the object has been real, the photograph surreptitiously induces belief that it is alive, because of that delusion which makes us attribute to Reality an absolute superior, somehow eternal value; but by shifting this reality to the past ("this-has-been"), the photograph suggests that it is already dead.

The new is not a fashion, it is a value.

Each of us has his own rhythm of suffering.

Historically and politically, the petit-bourgeois is the key to the century. The bourgeois and proletariat classes have become abstractions: the petite-bourgeoisie, in contrast, is everywhere, you can see it everywhere, even in the areas of the bourgeois and the proletariat, what's left of them.