Every object in the world can pass from a closed, silent existence to an oral state, open to appropriation by society, for there is no law, whether natural or not, which forbids talking about things

I make the other’s absence responsible for my worldliness.

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

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

Literature is like phosphorus: it shines with its maximum brilliance and the moment when it attempts to die.

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

The Photograph is an extended, loaded evidence — as if it caricatured not the figure of what it represents (quite the converse) but its very existence ... The Photograph then becomes a bizarre (i)medium(i), a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest (o)shared(i) hallucination (on the one hand 'it is not there,' on the other 'but it has indeed been'): a mad image, chafed by reality.