Whereas The Work Is Understood To Be

I Cannot Classify The Other, For The Other Is, Precisely, Unique, The Singular Image Which Has Miraculously Come To Correspond To The Speciality Of My Desire. The Other Is The Figure Of My Truth, And Cannot Be Imprisoned In Any Stereotype (which Is The Truth Of Others).

Is The Scene Always Visual? It Can Be Aural, The Frame Can Be Linguistic: I Can Fall In Love With A Sentence Spoken To Me: And Not Only Because It Says Something Which Manages To Touch My Desire, But Because Of Its Syntactical Turn (framing), Which Will Inhabit Me Like A Memory.

Historically And Politically, The Petit-bourgeois Is The Key To The Century. The Bourgeois And Proletariat Classes Have Become Abstractions: The Petite-bourgeoisie, In Contrast, Is Everywhere, You Can See It Everywhere, Even In The Areas Of The Bourgeois And The Proletariat, What's Left Of Them.

Ultimately — Or At The Limit — In Order To See A Photograph Well, It Is Best To Look Away Or Close Your Eyes. 'the Necessary Condition For An Image Is Sight,'janouch Told Kafka; And Kafka Smiled And Replied: 'we Photograph Things In Order To Drive Them Out Of Our Minds. My Stories Are A Way Of Shutting My Eyes.

If I Acknowledge My Dependency, I Do So Because For Me It Is A Means Of Signifying My Demand: In The Realm Of Love, Futility Is Not A "weakness" Or An "absurdity": It Is A Strong Sign: The More Futile, The More It Signifies And The More It Asserts Itself As Strength.)