“I feel that the Photograph creates my body or mortifies it, according to its caprice (apology of this mortiferous power: certain Communards paid with their lives for their willingness or even their eagerness to pose on the barricades: defeated, they were recognized by Thiers's police and shot, almost every one).”

“I experience reality as a system of power. Coluche, the restaurant, the painter, Rome on a holiday, everything imposes on me its system of being; everyone is *badly behaved*. Isn't their impoliteness merely a *plenitude*? The world is full, plenitude is its system, and as a final offense this system is presented as a "nature" with which I must sustain good relations: in order to be "normal" (exempt from love)..."—from_A Lover's Discourse: Fragments_”

“But I never looked like that!’ - How do you know? What is the ‘you’ you might or might not look like? Where do you find it - by which morphological or expressive calibration? Where is your authentic body? You are the only one who can never see yourself except as an image; you never see your eyes unless they are dulled by the gaze they rest upon the mirror or the lens (I am interested in seeing my eyes only when they look at you): even and especially for your own body, you are condemned to the repertoire of its images.”

“What right does my present have to speak of my past? Has my present some advantage over my past? What "grace" might have enlightened me? except that of passing time, or of a good cause, encountered on my way?”

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

“There is only one way left to escape the alienation of present day society: to retreat ahead of it.”

“What I claim is to live to the full the contradiction of my time, which may well make sarcasm the condition of truth.”

“I call the discourse of power any discourse that engenders blame, hence guilt, in its recipient.”

“Flaubert had infinite correction to perform.”

“A photograph is always invisible, it is not it that we see.”

“If I like a photograph, if it disturbs me, I linger over it. What am I doing, during the whole times I remain with it? I look at it, I scrutinize it, as if I wanted to know more about the thing or the person it represents... I want to outline the loved face by thought, to make it into the unique field of an intense observation; I want to enlarge this face in order to see it better, to understand it better, to know its truth.”