The text you write must prove to me that it desires me. This proof exists: it is writing. Writing is: the science of the various blisses of language, its Kama Sutra (this science has but one treatise: writing itself).

In an initial period, Photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. The 'anything whatever' then becomes the sophisticated acme of value.

[Photography] allows me to accede to an infra-knowledge; it supplies me with a collection of partial objects and can flatter a certain fetishism of mine: for this 'me' which like knowledge, which nourishes a kind of amorous preference for it. In the same way, I like certain biographical features which, in a writer's life, delight me as much as certain photographs; I have called these features 'biographemes'; Photography has the same relation to History that the biographeme has to biography.

All of a sudden it didn't bother me not being modern.

The photographer, like an acrobat, must defy the laws of probability or even of possibility; at the limit, he must defy those of the interesting: the photograph becomes surprising when we do not know why it has been taken.

When we define the Photograph as a motionless image, this does not mean only that the figures it represents do not move; it means that they do not (i)emerge(i), do not (i)leave(i): they are anesthetized and fastened down, like butterflies.

It is said that mourning, by its gradual labour, slowly erases pain; I could not, I cannot believe this; because for me, Time eliminates the emotion of loss (I do note weep), that is all. For the rest, everything has remained motionless. For what I have lost is not a Figure (the Mother), but a being; and not a being, but a quality (a soul): not the indispensable, but the irreplaceable.