Above all, do not attempt to be exhaustive.

I have a disease; I see language.

What I hide by my language, my body utters.

I pass lightly through the reactionary darkness.

It is my desire I desire, and the loved being is no more than its tool.

...that ambiguous area of culture where something unfailingly political, though separate from the political choices of the day, infiltrates judgment and language.

A photograph is always invisible, it is not it that we see.

Incoherence seems to me preferable to a distorting order.

Isolation and competition are inhospitable to learning.

We know that to give writing its future, it is necessary to overthrow the myth: the birth of the reader must be at the cost of the death of the Author.

In the sentence “She’s no longer suffering,” to what, to whom does “she” refer? What does that present tense mean?

Literature is like phosphorus: it shines with its maximum brilliance and the moment when it attempts to die.

A creative writer is one for whom writing is a problem.

The pleasure of the text is that moment when my body pursues its own ideas—for my body does not have the same ideas as I do.

Frontiers are physical as well as symbolic constructions

Painting can feign reality without having seen it. Discourse combines signs which have referents, of course, but these referents can be and are most often 'chimeras.

There is nothing in discourse that is not to be found in a sentence.

The text you write must prove to me that it desires me.

I ask for nothing but to live in my suffering.

I can't get to know you" means "I shall never know what you really think of me." I cannot decipher you because I do not know how you decipher me.

As soon as someone dies, frenzied construction of the future (shifting furniture, etc.): futuromania.

Everyone is “extremely nice”—and yet I feel entirely alone. (“Abandonitis”).

It must always be considered as though spoken by a character in a novel

I am either lacerated or ill at ease and occasionally subject to gusts of life.