The Lover's Fatal Identity Is Precisely This:

The Photographer, Like An Acrobat, Must Defy The Laws Of Probability Or Even Of Possibility; At The Limit, He Must Defy Those Of The Interesting: The Photograph Becomes Surprising When We Do Not Know Why It Has Been Taken.

Ultimately, Photography Is Subversive, Not When It Frightens, Repels, Or Even Stigmatizes, But When It Is Pensive, When It Thinks.

Literature Is Without Proofs. By Which It Must Be Understood That It Cannot Prove, Not Only What It Says, But Even That It Is Worth The Trouble Of Saying It.

The Gesture Of The Amorous Embrace Seems To Fulfill, For A Time, The Subject's Dream Of Total Union With The Loved Being: The Longing For Consummation With The Other.

The Photograph Is Violent: Not Because It Shows Violent Tings, But Because On Each Occasion (i)it Fills The Sight By Force(i), And Because In It Nothing Can Be Refused Or Transformed (that We Can Sometimes Call It Mild Does Not Contradict Its Violence: Many Say That Sugar Is Mild, But To Me Sugar Is Violent, And I Call It So).