As Spectator I wanted to explore photography not as a question (a theme) but as a wound.

Ultimately, Photography is subversive, not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks.

Television doomed us to the Family, whose household instrument it has become-what the hearth used to be, flanked by the communal kettle.

[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.

For the theatre one needs long arms; it is better to have them too long than too short. An artiste with short arms can never, never make a fine gesture.

...what I enjoy in a narrative is not directly its content or even its structure, but rather the abrasions I impose upon the fine surface: I read on, I skip, I look up, I dip in again. Which has nothing to do with the deep laceration the text of bliss inflicts upon language itself, and not upon the simple temporality of its reading.

Frontiers are physical as well as symbolic constructions