 The love of the famous, like all strong passions, is quite abstract. Its intensity can be measured mathematically, and it is independent of persons. |
| It is not altogether wrong to say that there is no such thing as a bad photograph - only less interesting, less relevant, less mysterious ones. |
| The taste for quotations (and for the juxtaposition of incongruous quotations) is a Surrealist taste. |
| What pornography is really about, ultimately, isn't sex but death. |
| My idea of a writer: someone interested in everything. |
| The truth is balance. However the opposite of truth, which is unbalance, may not be a lie. |
| The truth is always something that is told, not something that is known. If there were no speaking or writing, there would be no truth about anything. There would only be what is. |
| The only interesting answers are those that destroy the questions. |
| I don't want to express alienation. It isn't what I feel. I'm interested in various kinds of passionate engagement. All my work says be serious, be passionate, wake up. |
| In the final analysis, style is art. And art is nothing more or less than various modes of stylized, dehumanized representation. |
| The life of the creative man is lead, directed and controlled by boredom. Avoiding boredom is one of our most important purposes. |
| Volume depends precisely on the writer's having been able to sit in a room every day, year after year, alone. |
| The painter constructs, the photographer discloses. |
| What is the most beautiful in virile men is something feminine; what is most beautiful in feminine women is something masculine. |
| What is most beautiful in virile men is something feminine; what is most beautiful in feminine women is something masculine. |
| What we need is to use what we have. |
| Surrealism is a bourgeois disaffection; that its militants thought it universal is only one of the signs that it is typically bourgeois. |
| Lying is an elementary means of self-defense. |
| Books are funny little portable pieces of thought. |
| Existence is no more than the precarious attainment of relevance in an intensely mobile flux of past, present, and future. |
