It is barbaric to write poetry after Auschwitz.

The body's habituation to walking as normal stems from the good olddays. It was the bourgeois form of locomotion: physicaldemythologization, free of the spell of hieratic pacing, rooflesswandering, breathless flight. Human dignity insisted on the right towalk, a rhythm not extorted from the body by command or terror. Thewalk, the stroll, were private ways of passing time, the heritage ofthe feudal promenade in the nineteenth century.

There is no love that is not an echo.

Thus is order ensured: some have to play the game because they cannot otherwise live, and those who could live otherwise are kept out because they do not want to play the game. It is as if the class from which independent intellectuals have defected takes its revenge, by pressing its demands home in the very domain where the deserter seeks refuge.

Every work of art is an uncommitted crime.

The poor are prevented from thinking by the discipline of others, the rich by their own.

The man for whom time stretches out painfully is one waiting in vain, disappointed at not finding tomorrow already continuing yesterday.