“Baudelaire writes: In certain almost supernatural inner states, the depth of life is entirely revealed in the spectacle, however ordinary, that we have before our eyes, and which becomes the symbol of it." Here we have a passage that designates the phenomenological direction I myself pursue. The exterior spectacle helps intimate grandeur unfold.”

“Nobody knows that in reading we are re-living our temptations to be a poet. All readers who have a certain passion for reading, nurture and repress, through reading, the desire to become a writer.”

“Of course, thanks to the house, a great many of our memories are housed, and if the house is a bit elaborate, if it has a cellar and a garret, nooks and corridors, our memories have refuges that are all the more clearly delineated. All our lives we come back to them in our daydreams. A psychoanalyst should, therefore, turn his attention to this simple localization of our memories. I should like to give the name of topoanalysis to this auxiliary of pyschoanalysis. Topoanalysis, then would be the systematic psychological study of the sites of our intimate lives.”

“Here is Menard's own intimate forest: 'Now I am traversed by bridle paths, under the seal of sun and shade...I live in great density...Shelter lures me. I slump down into the thick foliage...In the forest, I am my entire self. Everything is possible in my heart just as it is in the hiding places in ravines. Thickly wooded distance separates me from moral codes and cities.”

“We comfort ourselves by reliving memories of protection. Something closed must retain our memories, while leaving them their original value as images. Memories of the outside world will never have the same tonality as those of home and, by recalling these memories, we add to our store of dreams; we are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost.”

“A word is a bud attempting to become a twig. How can one not dream while writing? It is the pen which dreams. The blank page gives the right to dream.”

“Here the phenomenologist has nothing in common with the literary critic who, as has frequently been noted, judges a work that he could not create and, if we are to believe certain facile condemnations, would not want to create. A literary critic is a reader who is necessarily severe. By turning inside out like a glove an overworked complex that has become debased to the point of being part of the vocabulary of statesmen, we might say that the literary critic and the professor of rhetoric, who know-all and judge-all, readily go in for a simplex of superiority. As for me, being an addict of felicitous reading, I only read and re-read what I like, with a bit of reader's pride mixed in with much enthusiasm.”