Autobiography begins with a sense of being alone. It is an orphan form.

A man's death makes everything certain about him. Of course, secrets may die with him. And of course, a hundred years later somebody looking through some papers may discover a fact which throws a totally different light on his life and of which all the people who attended his funeral were ignorant. Death changes the facts qualitatively but not quantitatively. One does not know more facts about a man because he is dead. But what one already knows hardens and becomes definite. We cannot hope for ambiguities to be clarified, we cannot hope for further change, we cannot hope for more. We are now the protagonists and we have to make up our minds.

My heart born nakedwas swaddled in lullabies.Later alone it worepoems for clothes.Like a shirtI carried on my backthe poetry I had read.So I lived for half a centuryuntil wordlessly we met.From my shirt on the back of the chairI learn tonighthow many yearsof learning by heartI waited for you.

The relation between what we see and what we know is never settled. Each evening we see the sun set. We know that the earth is turning away from it. Yet the knowledge, the explanation, never quite fits the sight.

When we read a story, we inhabit it. The covers of the book are like a roof and four walls. What is to happen next will take place within the four walls of the story. And this is possible because the story's voice makes everything its own.

The clown knows that life is cruel. The ancient jester's motley coloured costume turned his usually melancholy expression in to a joke. The clown is used to loss. Loss is his prologue.

A drawing is a translation. That is to say each mark on the paper is consciously realted, not only to the real or imagined "model", but also to every mark and space already set out on the paper. Thus a drawn or painted image is woven together by the energy (or the lassitude, wen the drawing is weak) of countless judgements [sic]. Every time a figuration is evoked in a drawing, everything about it has been mediated by consciousness, either intuitively or systematically.

Photographs do not translate from appearances. They quote from them.

History always constitutes the relation between a present and its past. Consequently fear of the present leads to mystification of the past

Nature is energy and struggle. It is what exists without any promise. If it can be thought of by man as an arena, a setting, it has to be thought of as one which lends itself as much to evil as to good. Its energy is fearsomely indifferent.

Glamour cannot exist without personal social envy being a common and widespread emotion.

Compassion has no place in the natural order of the world which operates on the basis of necessity. Compassion opposes this order and is therefore best thought of as being in some way supernatural.

The envied are like bureaucrats; the more impersonal they are, the greater the illusion (for themselves and for others) of their power.

Ours is the century of enforced travel of disappearances. The century of people helplessly seeing others, who were close to them, disappear over the horizon.

The media network has its idols, but its principal idol is its own style which generates an aura of winning and leaves the rest in darkness. It recognizes neither pity nor pitilessness.

Today the discredit of words is very great. Most of the time the media transmit lies. In the face of an intolerable world, words appear to change very little. State power has become congenitally deaf, which is why /but the editorialists forget it /terrorists are reduced to bombs and hijacking.

Publicity is the life of this culture - in so far as without publicity capitalism could not survive - and at the same time publicity is its dream.

When we suffer anguish we return to early childhood because that is the period in which we first learnt to suffer the experience of total loss. It was more than that. It was the period in which we suffered more total losses than in all the rest of our life put together.

Is boredom anything less than the sense of one's faculties slowly dying?

The transcendental face of art is always a form of prayer.

Happiness is not something to be pursued, it is something met, an encounter. Most encounters, however, have a sequel; this is their promise. The encounter with happiness has no sequel. All is there instantly. Happiness is what pierces grief.

This seems to me absolutely one of the quintessential things about the human condition. It’s what actually distinguishes man from any other animal: living with those who have lived and the companionship of those who are no longer alive. Not necessarily the people that one knew personally, I mean the people perhaps whom one only knows by what they did, or what they left behind, this question of the company of the past, that’s what interests me, and archives are a kind of site in the sense of like an archaeological site.

Preachers love only their own voices.

To be desired is perhaps the closest anybody in this life can reach to feeling immortal.

Desire changes its character by 180 degrees. Often, when first aroused, it is felt as the desire to have. The desire to touch is, partly, the desire to lay hands on, to take. Later, transformed, the same desire becomes the desire to be taken, to lose oneself within the desired. From these two opposed moments come one of the dialectics of desire; both moments apply to both sexes and they oscillate. Clearly the second moment, the desire to lose oneself within, is the most abandoned, the most desperate, and it is the one that Caravaggio chose (or was compelled) to reveal in many of his paintings.

The poverty of our century is unlike that of any other. It is not, as poverty was before, the result of natural scarcity, but of a set of priorities imposed upon the rest of the world by the rich. Consequently, the modern poor are not pitied...but written off as trash. The twentieth-century consumer economy has produced the first culture for which as beggar is a reminder of nothing.

A spoken language is a body, a living creature, whose physiognomy is verbal and whose visceral functions are linguistic. And this creature's home is the inarticulate as well as the articulate.

We read and reread the words of the original text in order to penetrate through them, to reach, to touch the vision or experience which prompted them. We then gather up what we have found there and take this quivering almost wordless 'thing' and place it behind the language into which it needs to be translated. And now the principal task is to persuade the host language to take in and welcome the 'thing' which is waiting to be articulated.

Why? Because true translation is not a binary affair between two languages but a triangular affair. The third point of the triangle being what lay behind the words of the original text before it was written. True translation demands a return to the pre-verbal

A woman must continually watch herself. She is almost continually accompanied by her own image of herself. Whilst she is walking across a room or whilst she is weeping at the death of her father, she can scarcely avoid envisaging herself walking or weeping. From earliest childhood she has been taught and persuaded to survey herself continually. And so she comes to consider the surveyor and the surveyed within her as the two constituent yet always distinct elements of her identity as a woman. She has to survey everything she is and everything she does because how she appears to men, is of crucial importance for what is normally thought of as the success of her life. Her own sense of being in herself is supplanted by a sense of being appreciated as herself by another....One might simplify this by saying: men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of woman in herself is male: the surveyed female. Thus she turns herself into an object -- and most particularly an object of vision: a sight.

Your lips, beloved, are like a honeycomb: honey and milk are under the tongue. And the smell of your clothes is like the smell of my home.

Poems, even when narrative, do not resemble stories. All stories are about battles, of one kind or another, which end in victory or defeat. Everything moves towards the end, when the outcome will be known.Poems, regardless of any outcome, cross the battlefields, tending the wounded, listening to the wild monologues of the triumphant or the fearful. They bring a kind of peace. Not by anaesthesia or easy reassurance, but by recognition and the promise that what has been experienced cannot disappear as if it had never been. Yet the promise is not of a monument. (Who, still on a battlefield, wants monuments?) The promise is that language has acknowledged, has given shelter, to the experience which demanded, which cried out.

If every event which occurred could be given a name, there would be no need for stories.

But for the overcrowded, for those who have little or nothing except, sometimes, courage and love, hope works differently. Hope is then something to bite on, to put between the teeth. Don't forget this. Be a realist. With hope between the teeth comes the strength to carry on even when fatigue never lets up, comes strength, when necessary, to choose not to shout at the wrong moment, comes the strength above all not to howl. A person, with hope between her or his teeth, is a brother or sister who commands respect.

The spectator-buyer is meant to envy herself as she will become if she buys the product. She is meant to imagine herself transformed by the product into an object of envy for others, an envy which will then justify her loving herself.

Both agreed that to find any sense in life it was pointless to search in the places where people were instructed to look. Sense was only to be found in secrets.

I propose a conspiracy of orphans. We exchange winks. We reject hierarchies. All hierarchies. We take the shit of the world for granted and we exchange stories about how we nevertheless get by. We are impertinent. More than half the stars in the universe are orphan-stars belonging to no constellation. And they give off more light than all the constellation stars.

The happiness of being envied is glamour.Being envied is a solitary form of reassurance. It depends precisely upon not sharing your experience with those who envy you. You are observed with interest but you do not observe with interest - if you do, you will become less enviable. In this respect the envied are like bureaucrats; the more impersonal they are, the greater the illusion (for themselves and for others) of their power. The power of the glamorous resides in their supposed happiness: the power of the bureaucrat in his supposed authority.

Do you know the legend about cicadas? They say they are the souls of poets who cannot keep quiet because, when they were alive, they never wrote the poems they wanted to.

The real question is: to whom does the meaning of the art of the past properly belong ? To those who can app|y it to their own lives, or to a cultural hierarchy of relic specialtsts?

You painted a naked woman because you enjoyed looking at her, put a mirror in her hand and you called the painting “Vanity,” thus morally condemning the woman whose nakedness you had depicted for you own pleasure.

At times failure is very necessary for the artist. It reminds him that failure is not the ultimate disaster. And this reminder liberates him from the mean fussing of perfectionism.