“You see the first thing we love is a scene. For love at first sight requires the very sign of its suddenness; and of all things, it is the scene which seems to be seen best for the first time: a curtain parts and what had not yet ever been seen is devoured by the eyes: the scene consecrates the object I am going to love. The context is the constellation of elements, harmoniously arranged that encompass the experience of the amorous subject...Love at first sight is always spoken in the past tense. The scene is perfectly adapted to this temporal phenomenon: distinct, abrupt, framed, it is already a memory (the nature of a photograph is not to represent but to memorialize)... this scene has all the magnificence of an accident: I cannot get over having had this good fortune: to meet what matches my desire.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... In this moment, everything is suspended: time, law, prohibition: nothing is exhausted, nothing is wanted: all desires are abolished, for they seem definitively fulfilled... A moment of affirmation; for a certain time, though a finite one, a deranged interval, something has been successful: I have been fulfilled (all my desires abolished by the plenitude of their satisfaction).”

“Besides intercourse (when the Image-repertoire goes to the devil), there is that other embrace, which is a motionless cradling: we are enchanted, bewitched: we are in the realm of sleep, without sleeping; we are within the voluptous infantilism of sleepiness: this is the moment for telling stories, the moment of the voice which takes me, siderates me, this is the return to the mother ("in the loving calm of your arms," says a poem set to music by Duparc). In this companionable incest, everything is suspended: time, law, prohibition: nothing is exhausted, nothing is wanted: all desires are abolished, for they seem definitively fulfilled. Yet, within this infantile embrace, the genital unfailingly appears; it cuts off the diffuse sensuality of the incestuous embrace; the logic of desire begins to function, the will-to-possess returns, the adult is superimposed upon the child. I am then two subjects at once: I want maternity and genitality. (The lover might be defined as a child getting an erection: such was the young Eros.)”

“Let us suppose that I have wept, on account of some incident of which the other has not even become aware (to weep is part of the normal activity of the amorous body), and that, so this cannot be seen, I put on dark glasses to mask my swollen eyes (a fine example of denial: to darken the sight in order not to be seen). The intention of this gesture is a calculated one: I want to keep the moral advantage of stoicism, of “dignity” (I take myself for Clotilde de Vaux), and at the same time, contradictorily, I want to provoke the tender question (”But what’s the matter with you?”); I want to be both pathetic and admirable, I want to be at the same time a child and an adult. Thereby I gamble, I take a risk: for it is always possible that the other will simply ask no question whatever about these unaccustomed glasses; that the other will see, in the fact, no sign.”

“As Narrative (Novel, Passion), love is a story which is accomplished, in the sacred sense of the word: it is a program which must be completed. For me, on the contrary, this story has already taken place; for what is event is exclusively the delight of which I have been the object and whose aftereffects I repeat (and fail to achieve). Enamoration is a drama, if we restore to this word the archaic meaning Nietzsche gives it: "Ancient drama envisioned great declamatory scenes, which excluded action (action took place before or behind the stage)." Amorous seduction (a pure hypnotic moment) takes place before discourse and behind the proscenium of consciousness: the amorous "event" is of a hieratic order: it is my own local legend, my little sacred history that I declaim to myself, and this declamation of a fait accompli (frozen, embalmed, removed from any praxis) is the lover's discourse.”

“My anxieties as to behavior are futile, ever more so, to infinity. If the other, incidentally or negligently, gives the telephone number of a place where he or she can be reached at certain times, I immediately grow baffled: should I telephone or shouldn't I? (It would do no good to tell me that I can telephone - that is the objective, reasonable meaning of the message - for it is precisely this permission I don't know how to handle.) What is futile is what apparently has and will have no consequence. But for me, an amorous subject, everything which is new, everything which disturbs, is received not as a fact but in the aspect of a sign which must be interpreted. From the lover's point of view, the fact becomes consequential because it is immediately transformed into a sign: it is the sign, not the fact, which is consequential (by its aura). If the other has given me this new telephone number, what was that the sign of? Was it an invitation to telephone right away, for the pleasure of the call, or only should the occasion arise, out of necessity? My answer itself will be a sign, which the other will inevitably interpret, thereby releasing, between us, a tumultuous maneuvering of images. Everything signifies: by this proposition, I entrap myself, I bind myself in calculations, I keep myself from enjoyment. Sometimes, by dint of deliberating about "nothing" (as the world sees it), I exhaust myself; then I try, in reaction, to return -- like a drowning man who stamps on the floor of the sea -- to a spontaneous decision (spontaneity: the great dream: paradise, power, delight): go on, telephone, since you want to! But such recourse is futile: amorous time does not permit the subject to align impulse and action, to make them coincide: I am not the man of mere "acting out" -- my madness is tempered, it is not seen; it is right away that I fear consequences, any consequence: it is my fear -- my deliberation -- which is "spontaneous.”

“The truth of the matter is that—by an exorbitant paradox—I never stop believing that I am loved. I hallucinate what I desire. Each wound proceeds less from a doubt than from a betrayal: for only the one who loves can betray, only the one who believes himself loved can be jealous: that the other, episodically, should fail in his being, which is to love me—that is the origin of all my woes. A delirium, however, does not exist unless one wakens from it(there are only retrospective deliriums): one day, I realize what has happened to me: I thought I was suffering from not being loved, and yet it is because I thought I was loved that I was suffering; I lived in the complication of supposing myself simultaneously loved and abandoned. Anyone hearing my intimate language would have had to exclaim, as of a difficult child: But after all, what does he want?”

“The Photograph is an extended, loaded evidence — as if it caricatured not the figure of what it represents (quite the converse) but its very existence ... The Photograph then becomes a bizarre (i)medium(i), a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest (o)shared(i) hallucination (on the one hand 'it is not there,' on the other 'but it has indeed been'): a mad image, chafed by reality.”