Are not couturiers the poets who, from year to year, from strophe to strophe, write the anthem of the feminine body?

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

Is the scene always visual? It can be aural, the frame can be linguistic: I can fall in love with a sentence spoken to me: and not only because it says something which manages to touch my desire, but because of its syntactical turn (framing), which will inhabit me like a memory.

Ultimately — or at the limit — in order to see a photograph well, it is best to look away or close your eyes. 'The necessary condition for an image is sight,'Janouch told Kafka; and Kafka smiled and replied: 'We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.

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.

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

Language is legislation, speech is its code. We do not see the power which is in speech because we forget that all speech is a classification, and that all classifications are oppressive.