Atheists from France

"Imagination is not an empirical or superadded power of consciousness, it is the whole of consciousness as it realizes its freedom."

"He was free, free in every way, free to behave like a fool or a machine, free to accept, free to refuse, free to equivocate; to marry, to give up the game, to drag this death weight about with him for years to come. He could do what he liked, no one had the right to advise him, there would be for him no Good or Evil unless he thought them into being."

"He yawned. He had finished the day and he had also finished with his youth. Various well-bred moralities had already discreetly offered him their services: disillusioned epicureanism, smiling tolerance, resignation, common sense stoicism - all the aids whereby a man may savour, minute by minute, like a connoisseur, the failure of a life."

"What then did you expect when you unbound the gag that muted those black mouths? That they would chant your praises? Did you think that when those heads that our fathers had forcibly bowed down to the ground were raised again, you would find adoration in their eyes?"

"Every age has its own poetry; in every age the circumstances of history choose a nation, a race, a class to take up the torch by creating situations that can be expressed or transcended only through poetry."

"Fascism is not defined by the number of its victims, but by the way it kills them."

"Our responsibility is much greater than we might have supposed, because it involves all mankind."

"To choose this or that is to affirm at the same time the value of what we choose, because we can never choose evil. We always choose the good, and nothing can be good for us without being good for all."

"If literature isn't everything, it's not worth a single hour of someone's trouble."

"We are dealing here with a kind of worker aristocracy; around them would gravitate the people who were to be helped and raised up but who, for the moment, really were inferiors within the context of the working class itself. This translated into the choice of a particular form of unionization. When the time came to raise the issue of forming industrial unions, the skilled workers opted for craft-based organization, because that would exclude the unskilled. Objectively, this gave rise to a particular kind of union struggle that was real enough at the time, because in practice it was enough for the skilled workforce in a factory—the minority—to go on strike for operations to cease, even if the unskilled majority wanted to go on working. The union practice of the time, the kind of self-valuing, the type of struggle and form of organization, corresponded strictly to what those workers were, to what the machine was. We are not saying here that they were wrong or right: they were all that the universal lathe allowed them to be. It was in them, as their superiority; they interiorized it, and this interiorization, or subjectivation, produced the whole phenomenon of anarcho-syndicalism. This was not, as Lukács claims, because they did not grasp the totality of what the working class was and what its struggle was. On the contrary, because they were at the centre of production, they did grasp it as it was at that time. It is true that at that time they were far better qualified than the rest, but it is also true that this led to the development of yellow unions, an aristocracy of labour and a host of fairly aberrant secondary elements reflecting that conception, that interiorization in the form of social superiority, which disappeared wherever work that required training was replaced by semi-automated, then automated machines. But in that epoch they could not have been expected to foresee the existence of such machines, practically and in their struggle. Of course Marx described them in Capital, but he was a theorist, a leader of the International, not a worker who struggles at every instance of his life, someone who is formed by the machine and at the same time internally transforms it. Which means that class consciousness itself has its limits, which are the limits of the situation as long as that situation has not been completely revealed. Should this lead us to describe this type of 'class consciousness' as empty? Should we decide that the anarcho-syndicalists were not the men required? On the contrary, it is because they were aware of their strength, their courage and their worth, because they established unions and specific forms of struggle, that other forms of struggle could emerge in the era when specialized workers appeared. In the course of struggle, the subjective moment, as a way of being inside the objective moment, is absolutely indispensable to the dialectical development of social life and the historical process."

"A writer who takes political, social or literary positions must act only with the means that are his. These means are the written words."

"What I see is teeming cohesion, contained dispersal.... For him, to sculpt is to take the fat off space."

"She believed in nothing; only her skepticism kept her from being an atheist."

"I hate victims who respect their executioners."

"You know how much I admire Che Guevara. In fact, I believe that the man was not only an intellectual but also the most complete human being of our age: as a fighter and as a man, as a theoretician who was able to further the cause of revolution by drawing his theories from his personal experience in battle."

"When you live alone you no longer know what it is to tell a story: the plausible disappears at the same time as the friends. You let events flow by too: you suddenly see people appear who speak and then go away; you plunge into stories of which you can't make head or tail: you'd make a terrible witness."

"People who live in society have learned how to see themselves in mirrors as they appear to their friends. I have no friends. Is that why my flesh is so naked?"

"I think they do it to pass the time, nothing more. But time is too large, it can't be filled up. Everything you plunge into it is stretched and disintegrates."

"As for the square at Meknes, where I used to go every day, it's even simpler: I do not see it at all anymore. All that remains is the vague feeling that it was charming, and these five words that are indivisibly bound together: a charming square at Meknes. ... I don't see anything any more: I can search the past in vain, I can only find these scraps of images and I am not sure what they represent, whether they are memories or just fiction."

"And we feel that the hero has lived all the details of this night like annunciations, promises, or even that he lived only those that were promises, blind and deaf to all that did not herald adventure. We forget that the future was not yet there; the man was walking in the night without forethought, a night which offered him a choice of dull rich prizes, and he did not make his choice."

"I exist. It is soft, so soft, so slow. And light: it seems as though it suspends in the air. It moves."

"Three o'clock is always too late or too early for anything you want to do."

"Ma pensée, c'est moi: voilà pourquoi je ne peux pas m'arrêter. J'existe parce que je pense ... et je ne peux pas m'empêcher de penser."

"Monsieur ... I do not believe in God; his existence has been disproved by Science. But in the concentration camp, I learned to believe in men."

"I wanted for the moments in my life to follow each other and order themselves like those of a life remembered. It would be just as well to try to catch time by the tail."

"As if there could be true stories: things happen in one way, and we retell them in the opposite way."

"I construct my memories with my present. I am lost, abandoned in the present. I try in vain to rejoin the past: I cannot escape."

"The real nature of the present revealed itself: it was what exists, all that was not present did not exist."

"The past is the luxury of proprietors."

"Who can exhaust a man? Who knows a man's resources?"

"For an occurrence to become an adventure, it is necessary and sufficient for one to recount it."

"For the moment, the jazz is playing; there is no melody, just notes, a myriad of tiny tremors. The notes know no rest, an inflexible order gives birth to them then destroys them, without ever leaving them the chance to recuperate and exist for themselves.... I would like to hold them back, but I know that, if I succeeded in stopping one, there would only remain in my hand a corrupt and languishing sound. I must accept their death; I must even want that death: I know of few more bitter or intense impressions."

"All that I know about my life, it seems, I have learned in books."

"Absurd, irreducible; nothing — not even a profound and secret delirium of nature — could explain it. Obviously I did not know everything, I had not seen the seeds sprout, or the tree grow. But faced with this great wrinkled paw, neither ignorance nor knowledge was important: the world of explanations and reasons is not the world of existence. A circle is not absurd, it is clearly explained by the rotation of a straight segment around one of its extremities. But neither does a circle exist. This root, on the other hand, existed in such a way that I could not explain it."

"How can I, who was not able to retain my own past, hope to save that of another?"

"I exist, that is all, and I find it nauseating."

"I know. I know that I shall never again meet anything or anybody who will inspire me with passion. You know, it's quite a job starting to love somebody. You have to have energy, generosity, blindness. There is even a moment, in the very beginning, when you have to jump across a precipice: if you think about it you don't do it. I know I'll never jump again."

"I grasp at each second, trying to suck it dry: nothing happens which I do not seize, which I do not fix forever in myself, nothing, neither the fugitive tenderness of those lovely eyes, nor the noises of the street, nor the false dawn of early morning: and even so the minute passes and I do not hold it back, I like to see it pass."

"By turning my head slightly, I could see something out of the corner of my eye: it was a hand, the small white hand which slid along the table a little while ago. Now it was resting on its back, relaxed, soft and sensual, it had the indolent nudity of a woman sunning herself after bathing. A brown hairy object approached it, hesitant. It was a thick finger, yellowed by tobacco; inside this hand it had all the grossness of a male sex organ. It stopped for an instant, rigid, pointing at the fragile palm, then suddenly, it timidly began to stroke it. I was not surprised, I was only furious at the Self-Taught Man (L'Autodidacte); couldn't he hold himself back, the fool, didn't he realize the risk he was running? The Self-Taught Man did not look surprised. He must have been expecting this for years. He must have imagined what would happen a hundred times, the day the Corsican would slip up behind him and a furious voice would resound suddenly in his ears. Yet he came back every evening, he feverishly pursued his reading and then, from time to time, like a thief, stroked a white hand or perhaps the leg of a small boy. It was resignation that I read on his face."

"Tout existant naît sans raison, se prolonge par faiblesse et meurt par rencontre."

"If, for example, we consider destruction, we must recognize that it is an activity which doubtless could utilize judgment as an instrument but which can not be defined as uniquely or even primarily judicative. Destruction presents the same structure as "the question." In a sense, certainly, man is the only being by whom a destruction can be accomplished. A geological plication, a storm do not destroy - or at least they do not destroy directly; they merely modify the distribution of masses of beings. There is no less after the storm than before. There is something else. Even this expression is improper, for to posit otherness there must be a witness who can retain the past in some manner and compare it to the present in the form of no longer. In the absence of this witness, there is being before as after the storm that is all. If a cyclone can bring about the death of certain living beings, this death will be destruction only if it is experienced as such. In order for destruction to exist, there must be first a relation of man to being - i.e., a transcendence; and within the limits of this relation, it is necessary that man apprehend one being as destructible. This supposes a limiting cutting into being by a being, which, as we saw in connection with truth, is already a process of nihilation. The being under consideration is that and outside of that nothing. The gunner who has been assigned an objective carefully points his gun in a certain direction excluding all others. But even this would still be nothing unless the being of the gunner's objective is revealed as fragile. And what is fragility if not a certain probability of non - being for a given being under determined circumstances. A being is fragile if it carries in its being a definite possibility of non - being. But once again it is through man that fragility comes into being, for the individualizing limitation which we mentioned earlier is the condition of fragility; one being is fragile and not all being, for the latter is beyond all possible destruction. Thus the relation of individualizing limitation which man enters into with one being on the original basis of his relation to being causes fragility to enter into this being as the appearance of a permanent possibility of non - being. But this is not all."

"Nothingness haunts being."

"Generosity is nothing else than a craze to possess. All which I abandon, all which I give, I enjoy in a higher manner through the fact that I give it away.... To give is to enjoy possessively the object which one gives."

"I am responsible for everything ... except for my very responsibility, for I am not the foundation of my being. Therefore everything takes place as if I were compelled to be responsible. I am abandoned in the world ... in the sense that I find myself suddenly alone and without help, engaged in a world for which I bear the whole responsibility without being able, whatever I do, to tear myself away from this responsibility for an instant."

"To eat is to appropriate by destruction."

"In order to make myself recognized by the Other, I must risk my own life. To risk one's life, in fact, is to reveal oneself as not-bound to the objective form or to any determined existence — as not-bound to life."

"L'existence précède et commande l'essence."

"Je suis condamné à être libre."

"L'homme est une passion inutile."

"Each human reality is at the same time a direct project to metamorphose its own For-itself into an In-itself-For-itself, a project of the appropriation of the world as a totality of being-in-itself, in the form of a fundamental quality. Every human reality is a passion in that it projects losing itself so as to found being and by the same stroke to constitute the In-itself which escapes contingency by being its own foundation, the Ens causa sui, which religions call God. Thus the passion of man is the reverse of that of Christ, for man loses himself as man in order that God may be born. But the idea of God is contradictory and we lose ourselves in vain. Man is a useless passion."

"All human activities are equivalent ... and ... all are on principle doomed to failure."

"Man is condemned to be free; because once thrown into the world, he is responsible for everything he does."

"It is certain that we cannot escape anguish, for we are anguish."

"The For-itself, in fact, is nothing but the pure nihilation of the In-itself; it is like a hole of being at the heart of Being."

"Man is always separated from what he is by all the breadth of the being which he is not. He makes himself known to himself from the other side of the world and he looks from the horizon toward himself to recover his inner being."

"Generally speaking there is no irreducible taste or inclination. They all represent a certain appropriative choice of being. It is up to existential psychoanalysis to compare and classify them. Ontology abandons us here; it has merely enabled us to determine the ultimate ends of human reality, its fundamental possibilities, and the value which haunts it."

"But [your crime] will be there, one hundred times denied, always there, dragging itself behind you. Then you will finally know that you have committed your life with one throw of the die, once and for all, and there is nothing you can do but tug our crime along until your death. Such is the law, just and unjust, of repentance. Then we will see what will become of your young pride."

"Be quiet! Anyone can spit in my face, and call me a criminal and a prostitute. But no one has the right to judge my remorse."

"Fear? If I have gained anything by damning myself, it is that I no longer have anything to fear."

"Admit it, it is your youth that you regret, more even than your crime; it is my youth you hate, even more than my innocence."

"Some men are born committed to action: they do not have a choice, they have been thrown on a path, at the end of that path, an act awaits them, their act."

"They are in bad faith — they are afraid — and fear, bad faith have an aroma that the gods find delicious. Yes, the gods like that, the pitiful souls."

"Ah! Do not judge the gods, young man, they have painful secrets."

"Yes, I am so free. And what a superb absence is my soul."

"You must be afraid, my son. That is how one becomes an honest citizen."

"Her face seems ravaged by both lightning and hail. But on yours there is something like the promise of a storm: one day passion will burn it to the bone."

"I felt less alone when I didn't know you yet: I was waiting for the other. I thought only of his strength and never of my weakness. And now here you are, Orestes, it was you. I look at you and I see that we are two orphans."

"A man who is free is like a mangy sheep in a herd. He will contaminate my entire kingdom and ruin my work."

"Nicias, do you think you can erase with good deeds the wrongs you committed against your mother? What good deed will ever reach her? Her soul is a scorching noon time, without a single breath of a breeze, nothing moves, nothing changes, nothing lives there; a great emaciated sun, an immobile sun eternally consumes her."

"What do I care about Jupiter? Justice is a human issue, and I do not need a god to teach it to me."

"Commoners are weightless. But he was a royal bon vivant who, no matter what, always weighed 125 kilos. I would be very surprised if he didn't have a few pounds left."

"All-powerful god, who am I but the fear that I inspire in others?"

"Blood doubly unites us, for we share the same blood and we have spilled blood."

"Suppose that I wish to deserve the title of "robber of remorse" and that I place in myself all [the townspeople's] repentence?"

"But, if it will help ease your irritated souls, please know, dearly departed, that you have ruined our lives."

"It is for the sake of order that I seduced Clytemnestra, for the sake of order that I killed my king. I wanted for order to rule and that it rule through me. I have lived without desire, without love, without hope: I made order. Oh! terrible and divine passion!"

"Understand me: I wish to be a man from somewhere, a man among men. You see, a slave, when he passes by, weary and surly, carrying a heavy load, limping along and looking down at his feet, only at his feet to avoid falling down; he is in his town, like a leaf in greenery, like a tree in a forest, argos surrounds him, heavy and warm, full of herself; I want to be that slave, Electra, I want to pull the city around me and to roll myself up in it like a blanket. I will not leave."

"I have no need for good souls: an accomplice is what I wanted."

"He is dead, and my hatred has died with him."

"Jupiter: I committed the first crime by creating men as mortals. After that, what more could you do, you the murderers? Aegisteus: Come on; they already had death in them: at most you simply hastened things a little."

"Ah! How I hate the crimes of the new generation: they are dry and sterile as darnel."

"Zeus (Jupiter): Agistheus, you are a king, and it's to your sense of king-ship I appeal, for you enjoy wielding the scepter. Aegistheus: Continue. Zeus: You may hate me, but we are akin; I made you in my image. A king is a god on earth, glorious and terrifying as a god. Aegistheus: You, terrifying? Zeus: Look at me. [A long silence.] I told you you were made in my image. Each keeps order; you in Argos, I in heaven and on earth — and you and I harbor the same dark secret in our hearts. Aegistheus: I have no secret. Zeus: You have. The same as mine. The bane of gods and kings. The bitterness of knowing men are free. Yes, Aegistheus they are free. But your subjects do not know it, and you do."

"Aegistheus, the kings have another secret.... Once liberty has exploded in the soul of a man, the Gods can do nothing against that man. It is a matter for men to handle amongst themselves, and it is up to other men — and to them alone — to let him flee or to destroy him."

"Now I am weary and I can no longer tell good from Evil, and I need someone to show me the way."

"Jupiter: I gave you the liberty to serve me. Orestes: That is possible, but it has turned against you and there is nothing either one of us can do about it."

"I came to claim my kingdom and you refused me because I was not one of you. Now I am one of you, my subjects, we are bound by blood, and I deserve to be your king. Your sins and your remorse, your mighty anguish, I take all upon myself. Fear your dead no more, they are my dead."

"Remember, Orestes: you were part of my herd, you grazed in the fields along with my sheep. Your liberty is nothing but a mange eating away at you, it is nothing but an exile."

"We were too light, Electra. Now our feet press down in the earth like the wheels of a cart in its groove. Come with me, and we will walk heavily, bending under the weight of our heavy load."

"Your entire universe will not be enough to make me guilty. You are the king of the Gods, Jupiter, the king of the stones and of the stars, the king of the waves of the sea. But you are not the king of men."

"Jupiter: I am not your king, impudent larva? Who then has created you? Orestes: You. But you should not have created me free."

"I am a man, Jupiter, and each man must invent his own path."

"You are a tiny little girl, Electra. Other little girls dreamed of being the richest or the most beautiful women of all. And you, fascinated by the horrid destiny of your people, you wished to become the most pained and the most criminal ... At your age, children still play with dolls and they play hopscotch. You, poor child, without toys or playmates, you played murder, because it is a game that one can play alone."

"In a world, man must create his own essence: it is in throwing himself into the world, suffering there, struggling there, that he gradually defines himself."

"Man cannot will unless he has first understood that he must count on no one but himself; that he is alone, abandoned on earth in the midst of his infinite responsibilities, without help, with no other aim than the one he sets himself, with no other destiny than the one he forges for himself on this earth."

"With despair, true optimism begins: the optimism of the man who expects nothing, who knows he has no rights and nothing coming to him, who rejoices in counting on himself alone and in acting alone for the good of all."

"...man first of all exists, encounters himself, surges up in the world – and defines himself afterwards."

"I will take it all: tongs, molten lead, prongs, garrotes, all that burns, all that tears, I want to truly suffer. Better one hundred bites, better the whip, vitriol, than this suffering in the head, this ghost of suffering which grazes and caresses and never hurts enough."

"Criminals together. We're in hell, my little friend, and there's never any mistake there. People are not damned for nothing."

"If we must absolutely mention this state of affairs, I suggest that we call ourselves "absent", that is more proper."

"Alors, c'est ça l'enfer. Je n'aurais jamais cru... vous vous rappelez: le soufre, le bûcher, le gril... ah! Quelle plaisanterie. Pas besoin de gril, l'enfer, c'est les autres."

"Your crystal? That's silly. Whom do you think you are fooling? Come on, everyone knows that I threw the baby out of the window. The crystal is shattered on earth, and I do not care. I am no longer anything but a skin, and my skin does not belong to you."

"It is better; heavier, crueler. The mouth you wear for hell."

"As for me, I am mean: that means that I need the suffering of others to exist. A flame. A flame in their hearts. When I am all alone, I am extinguished."

"You have stolen my face from me: you know it and I no longer do."

"Don't you feel the same way? When I cannot see myself, even though I touch myself, I wonder if I really exist."

"Ha! to forget. How childish! I feel you in my bones. Your silence screams in my ears. You may nail your mouth shut, you may cut out your tongue, can you keep yourself from existing? Will you stop your thoughts."

"On meurt toujours trop tôt - ou trop tard. Et cependant la vie est là, terminée : le trait est tiré, il faut faire la somme. Tu n'es rien d'autre que ta vie."

"We are in hell and I will have my turn!"

"If only you knew how little I care. Cowardly or not, as long as he is a good kisser."

"I think of death only with tranquility, as an end. I refuse to let death hamper life. Death must enter life only to define it."

"On est ce qu'on veut."

"Eh bien, continuons..."

"The anti‐Semite has chosen hate because hate is a faith; at the outset he has chosen to devaluate words and reasons. How entirely at ease he feels as a result. How futile and frivolous discussions about the rights of the Jew appear to him. He has placed himself on other ground from the beginning. If out of courtesy he consents for a moment to defend his point of view, he lends himself but does not give himself. He tries simply to project his intuitive certainty onto the plane of discourse. I mentioned awhile back some remarks by anti‐Semites, all of them absurd: "I hate Jews because they make servants insubordinate, because a Jewish furrier robbed me, etc." Never believe that anti‐ Semites are completely unaware of the absurdity of their replies. They know that their remarks are frivolous, open to challenge. But they are amusing themselves, for it is their adversary who is obliged to use words responsibly, since he believes in words. The anti‐Semites have the right to play. They even like to play with discourse for, by giving ridiculous reasons, they discredit the seriousness of their interlocutors. They delight in acting in bad faith, since they seek not to persuade by sound argument but to intimidate and disconcert. If you press them too closely, they will abruptly fall silent, loftily indicating by some phrase that the time for argument is past. It is not that they are afraid of being convinced. They fear only to appear ridiculous or to prejudice by their embarrassment their hope of winning over some third person to their side."

"The anti‐Semite understands nothing about modern society. He would be incapable of conceiving of a constructive plan; his action cannot reach the level of the methodical; it remains on the ground of passion. To a long‐term enterprise he prefers an explosion of rage analogous to the running amuck of the Malays. His intellectual activity is confined to interpretation; he seeks in historical events the signs of the presence of an evil power. Out of this spring those childish and elaborate fabrications which give him his resemblance to the extreme paranoiacs. In addition, anti‐Semitism channels evolutionary drives toward the destruction of certain men, not of institutions. An anti‐Semitic mob will consider it has done enough when it has massacred some Jews and burned a few synagogues. It represents, therefore, a safety valve for the owning classes, who encourage it and thus substitute for a dangerous hate against their regime a beneficent hate against particular people. Above all this naive dualism is eminently reassuring to he anti‐Semite himself. If all he has to do is to remove Evil, that means that the Good is already given. He has no need to seek it in anguish, to invent it, to scrutinize it patiently when he has found it, to prove it in action, to verify it by its consequences, or, finally, to shoulder the responsibilities of the moral choice he has made. It is not by chance that the great outbursts of anti‐Semitic rage conceal a basic optimism. The anti‐Semite has cast his lot for Evil so as not to have to cast his lot for Good. The more one is absorbed in fighting Evil, the less one is tempted to place the Good in question. One does not need to talk about it, yet it is always understood in the discourse of the anti‐Semite and it remains understood in his thought. When he has fulfilled his mission as holy destroyer, the Lost Paradise will reconstitute itself. For the moment so many tasks confront the anti‐Semite that he does not have time to think about it. He is in the breach, fighting, and each of his outbursts of rage is a pretext to avoid the anguished search for the Good."

"If the Jew did not exist, the anti-Semite would invent him."

"What do we mean by saying that existence precedes essence? We mean that man first of all exists, encounters himself, surges up in the world—and defines himself afterwards. If man as the existentialist see him is not definable, it is because to begin with he is nothing. He will not be anything until later, and then he will be what he makes of himself. Thus, there is no human nature, because there is no God to have a conception of it. Man simply is. Not that he is simply what he conceives himself to be, but he is what he wills, and as he conceives himself after already existing – as he wills to be after that leap towards existence. Man is nothing else but that which he makes of himself. That is the first principle of existentialism."

"First, what do we mean by anguish? The existentialist frankly states that man is in anguish. His meaning is as follows-When a man commits himself to anything, fully realizing that he is not only choosing what he will be, but is thereby at the same time a legislator deciding for the whole of mankind-in such a moment a man cannot escape from the sense of complete and profound responsibility."

"And when we speak of "abandonment" - a favorite word of Heidegger - we only mean to say that God does not exist and that it is necessary to draw the consequences of his absence to the end."

"Dostoevsky once wrote: "If God did not exist, everything would be permitted"; and that, for existentialism, is the starting point. Everything is indeed permitted if God does not exist, and man is in consequence forlorn, for he cannot find anything to depend upon either within or outside himself. He discovers forthwith, that he is without excuse."

"When Descartes said, "Conquer yourself rather than the world," what he meant was, at bottom, - the same - that we should act without hope. Marxists, to whom I have said thus have answered: "Your action is limited, obviously, by your death: but you can rely upon the help of others."

"Quietism is the attitude of people who say, "let others do what I cannot do." The doctrine I am presenting before you is precisely the opposite of this, since it declares that there is no reality except in action. It goes further, indeed, and adds, "Man is nothing else but what he purposes, he exists only in so far as he realizes himself, he is therefore nothing else but the sum of his actions, nothing else but what his life is." Hence we can well understand why some people are horrified by our teaching."

"Our aim is precisely to establish the human kingdom as a pattern of values in distinction from the material world. But the subjectivity which we thus postulate as the standard of truth is no narrowly individual subjectivism, for as we have demonstrated, it is not only one's own self that one discovers in the cogito, but those of others too. Contrary to the philosophy of Descartes, contrary to that of Kant, when we say "I think" we are attaining to ourselves in the presence of the other, and we are just as certain of the other as we are of ourselves. Thus the man who discovers himself directly in the cogito also discovers all the others, and discovers them as the condition of his own existence. He realizes that he can't be anything unless others recognize him as such. I cannot obtain any truth whatsoever about myself, except through the mediation of another. The other is indispensable to my existence, and equally so to any knowledge I can have of myself."

"A man who belongs to some communist or revolutionary society wills certain concrete ends, which imply the will to freedom, and that freedom is willed in community. We will freedom for freedom's sake, and in and through the particular circumstances. And in thus willing freedom, we discover that it depends entirely upon the freedom of others and that the freedom of others depends upon our own."

"We will freedom for freedom's sake, in and through particular circumstances. And in thus willing freedom, we discover that it depends entirely upon the freedom of others and that the freedom of others depends upon our own. Obviously, freedom as the definition of a man does not depend upon others, but as soon as there is a commitment, I am obliged to will the liberty of others at the same time as my own. I cannot make liberty my aim unless I make that of others equally my aim."

"Existentialism is nothing else but an attempt to draw the full conclusions from a consistently atheistic position. Its intention is not in the least that of plunging men into despair. And if by despair one means as the Christians do – any attitude of unbelief, the despair of the existentialists is something different. Existentialism is not atheist in the sense that it would exhaust itself in demonstrations of the non-existence of God. It declares, rather, that even if God existed that would make no difference from its point of view. Not that we believe God does exist, but we think that the real problem is not that of His existence; what man needs is to find himself again and to understand that nothing can save him from himself, not even a valid proof of the existence of God. In this sense existentialism is optimistic. It is a doctrine of action, and it is only by self-deception, by confining their own despair with ours that Christians can describe us as without hope."

"Life has no meaning a priori … It is up to you to give it a meaning, and value is nothing but the meaning that you choose."

"It is the good children, Madame, who make the most terrible revolutionaries. They say nothing, they do not hide under the table, they eat only one sweet at a time, but later on, they make Society pay dearly for it!"

"As for us, my little friend, we entered [the Communist Party] because we were tired of dying of hunger."

"I respect orders but I respect myself too and I do not obey foolish rules made especially to humiliate me."

"They made me take cod liver oil: that is the height of luxury: a medicine to make you hungry while the others, in the street, would have sold themselves for a beefsteak. I saw them passing my window with their signs: "Give me bread"."

"In any case, if you ever leave me with a handsome man, do not tell me that you trust me because, let me warn you: that is not what will prevent me from deceiving you, if I want to. On the contrary."

"Karsky: I met your father last week. Are you still interested in hearing how he is doing? Hugo: No. Karsky: It is very probable that you will be responsible for his death. Hugo: It is virtually certain that he is responsible for my life. We are even."

"Listen to me: a family man is never a real family man. An assassin is never entirely assassin. They play a role, you understand. While a dead man, he is really dead. To be or not to be, right?"

"It is the same thing: killing, dying, it is the same thing: one is just as alone in each. He is lucky, he will only die once. As for me, for ten days I have been killing him at every minute."

"I say a murder is abstract. You pull the trigger and after that you do not understand anything that happens."

"I was your luxury. For nineteen years I have been put in your man's world and was forbidden to touch anything and you made me think that all was going very well and that I did not have to worry about anything but putting flowers in vases. Why did you lie to me? Why did you keep me ignorant, if it was to admit to me one day that this world is cracking and that you are all powerless and to make me choose between a suicide and a murder?"

"Politics is a science. You can demonstrate that you are right and that others are wrong."

"I do not give a damn about the dead. They died for the [Communist] Party and the Party can decide what it wants. I practice a live man's politics, for the living."

"What do you want to do with the [Communist] Party? A racing stable? What good is it to sharpen a knife every day if you never use it for slicing? A party is never more than a means. There is only one objective: power."

"Intellectuals cannot be good revolutionaries; they are just good enough to be assassins."

"I was not the one to invent lies: they were created in a society divided by class and each of us inherited lies when we were born. It is not by refusing to lie that we will abolish lies: it is by eradicating class by any means necessary."

"The [Communist] Party has one objective: the creation of a socialist economy; and one means: the utilization of the class struggle."

"As far as men go, it is not what they are that interests me, but what they can become."

"You take souls for vegetables.... The gardener can decide what will become of his carrots but no one can choose the good of others for them."

"I entered the [Communist] Party because its cause was just and I will leave it when it ceases to be just."

"The best work is not what is most difficult for you; it is what you do best."

"I know nothing, I am neither woman nor girl; I have been living in a dream and when someone kissed me, it made me want to laugh. Now I am here before you, it seems as though I have just awakened and it is morning."

"I tell you in truth: all men are Prophets or else God does not exist."

"If you are not already dead, forgive. Rancor is heavy, it is worldly; leave it on earth: die light."

"I know only one Church: it is the society of men."

"If a victory is told in detail, one can no longer distinguish it from a defeat."

"It is too early to love. We will buy the right to do so by shedding blood."

"Your church is a whore: she sells her favors to the rich."

"It is not the same thing. You are perhaps not lying, but you are not telling the truth."

"I do not understand! I understand nothing! I cannot understand nor do I want to understand! I want to believe! To Believe!"

"Lord, you have cursed Cain and Cain's children: thy will be done. You have allowed men's hearts to be corrupted, that their intentions be rotten, that their actions putrefy and stink: thy will be done."

"Quand les riches se font la guerre, ce sont les pauvres qui meurent."

"Ah! yes, I know: those who see me rarely trust my word: I must look too intelligent to keep it."

"It is the same: a chosen one is a man whom God's finger crushes against the wall."

"You see, I divide men into three categories: those who have a lot of money, those who have none at all and those who have a little. The first want to keep what they have: their interest is to maintain order; the second want to take what they do not have: their interest is to destroy the existing order and to establish one which is profitable to them. They each are realist, people with whom one can agree. The third group want to overthrow the social order to take what they do not have, while still preserving it so that no one takes away what they have. Thus, they preserve in fact what they destroy in theory, or they destroy in fact what they seem to preserve. Those are the idealists."

"I can be twenty women, one hundred, if that's what you want, all women. Ride with me behind you, I weigh nothing, your horse will not feel me. I want to be your whorehouse!"

"Catherine: Why commit Evil? Goetz: Because Good has already been done. Catherine: Who has done it? Goetz: God the Father. I, on the other hand, am improvising."

"I am not virtuous. Our sons will be if we shed enough blood to give them the right to be."

"Yes, Lord, you are innocence itself: how could you conceive of Nothingness, you who are plenitude? Your gaze is light and transforms all into light: how could you know the half-light in my heart?"

"If you want to deserve Hell, you need only stay in bed. The world is iniquity; if you accept it, you are an accomplice, if you change it you are an executioner."

"There are two types of poor people, those who are poor together and those who are poor alone. The first are the true poor, the others are rich people out of luck."

"I will not be modest. Humble, as much as you like, but not modest. Modesty is the virtue of the lukewarm."

"One cannot become a saint when one works sixteen hours a day."

"I have nothing but contempt for you idiotic chosen ones who have the heart to rejoice when there are the damned in Hell and the poor on earth; as for me, I am on the side of men and I will not leave it."

"We will not go to Heaven,Goetz, and even if we both entered it, we would not have eyes to see each other, nor hands to touch each other. Up there, God gets all the attention.... We can only love on this earth and against God."

"À celui qui donne un baiser ou un coup Rendez un baiser ou un coup Mais à celui qui donne sans que vous puissiez rendre Offrez toute la haine de votre coeur Car vous étiez esclaves et il vous asservit"

"If you die, I will lie down beside you and I will stay there until the end, without eating or drinking, you will rot in my arms and I will love you as carcass: for you love nothing if you do not love everything."

"I am no longer sure of anything. If I satiate my desires, I sin but I deliver myself from them; if I refuse to satisfy them, they infect the whole soul."

"Do you think that I count the days? There is only one day left, always starting over: it is given to us at dawn and taken away from us at dusk."

"Night is falling: at dusk, you must have good eyesight to be able to tell the Good Lord from the Devil."

"Adieu les monstres! Adieu les saints! Adieu l'orgueil! Il n'y a que des hommes."

"God is the solitude of men. There was only me: I alone decided to commit Evil; alone, I invented Good. I am the one who cheated, I am the one who performed miracles, I am the one accusing myself today, I alone can absolve myself; me, the man."

"Better to have beasts that let themselves be killed than men who run away."

"I wanted pure love: foolishness; to love one another is to hate a common enemy: I will thus espouse your hatred. I wanted Good: nonsense; on this earth and in these times, Good and Bad are inseparable: I accept to be evil in order to become good."

"One is still what one is going to cease to be and already what one is going to become. One lives one's death, one dies one's life."

"The French bourgeois doesn't dislike shit, provided it is served up to him at the right time."

"The homosexual never thinks of himself when someone is branded in his presence with the name homosexual. ...His sexual tastes will doubtless lead him to enter into relationships with this suspect category, but he would like to make use of them without being likened to them. Here, too, the ban that is cast on certain men by society has destroyed all possibility of reciprocity among them. Shame isolates."

"I maintain that inversion is the effect of neither a prenatal choice nor an endocrinal malformation nor even the passive and determined result of complexes. It is an outlet that a child discovers when he is suffocating."

"esse est percipi, and he recognizes himself as being only insofar as he is perceived."

"L’important n’est pas ce qu’on fait de nous mais ce que nous faisons nous-même de ce qu’on a fait de nous."

"such mad confidence within despair."

"It was a constraint; he makes of it his mission"

"But when they have realized that it [society] rejects them forever, they themselves assume the ostracism of which they are victims so as not to leave the initiative to their oppressors"

"This inner revolution is realistic because it maintains itself deliberately within the framework of existing institutions; the oppressed reckon with the real situation."

"His business is here, it is here that he is despised and vilified, it is here that he must carry out his undertaking"

"Since he is unable to be the beloved, he will become the lover."

"...inversion...is an outlet that a child discovers when he is suffocating."

"In doing Good, I lose myself in Being, I abandon my particularity, I become a universal subject."

"The strangest mores of the most of-the-way societies will, in spite of everything, be relatively comprehensible to the person who has a flesh-and-blood knowledge of man's needs, anxieties, and hopes. If, on the other hand, this experience is lacking, he will not even be able to understand the customs of those about him."

"The live dead-man is dead as a producer and alive insofar as he consumes"

"Abjection is a methodological conversion, like Cartesian doubt and Husserlian epoche: it establishes the world as a closed system which consciousness regards from without, in the manner of divine understanding."

"But since he has decided to have the impossibility of living, every misfortune is an opportunity which lays this importance of living before his eyes and obliges him to decide, once again, to die."

"His obedience is real since he really and truly fulfills his mission, since he runs real risks in order to carry out the beloved's orders. But, on the other hand, it is imaginary because he submits only to a creature of his mind."

"He chooses the most feared, most hated man in order to worship him as a god, feeling sure that he is alone in perceiving the god's secret virtues."

"It is freedom, it is particularity, it is solitude that we are aiming at, and not Evil for its own sake"

"Moral solipsism."

"The consciousness of being betrayed is to the collective consciousness of a sacred group what a certain form of schizophrenia is to the individual...it is a form of madness."

"Only a neutral, who is indifferent to the stake and perhaps to all stakes, can appreciate aesthetically the grandeur of a fine disaster"

"Genet is a man-failure: he wills the impossible in order to derive from the tragic grandeur of this defeat the assurance that there is something other than the possible."

"Similarly, individual acts of aristocratic generosity do not eliminate pauperism; they perpetuate it."

"For man holds his ground only by surpassing himself, in the same sense in which it is said that one ceases to love if one does not love increasingly everyday."

"The worst of misfortunes is still a stroke of luck, since one feels oneself living when one experiences it/"

"For Genet, reflective states of mind are the rule. And although they are of an unstable nature in everyone, in him...reflection is always contrary to the reflected feeling."

"The world is sacred because it gives an inkling of a meaning that escapes us"

"...for one cannot enter an image unless one makes oneself imaginary"

"...the impossible must be supposed in order to explain the superdetermination of the event"

"He wanted to assume his entire condition, to carry the world on his shoulders and to become, in defiance of all, what all have made of him."

"The dreamer must contaminate the others by his dream, he must make them fall into it"

"...the prisoner's dreams is the guard's spirituality"

"Virtue is the death of conscience because it is the habit of Good, and yet the ethic of the honest man infinitely prefers virtue to the noblest agonies of conscience. Thus, being poses nonbeing and eliminates it. There is only being"

"For Genet, Beauty will be the offensive weapon that will enable him to beat the just on their own ground: that of value."

"Thus, Beauty is neither an appearance nor a being, but a relationship: the transformation of being into appearance"

"...in order to change poverty into wealth, one must start by displaying it."

"That is precisely what we should have expected, since Genet wants to live simultaneously creation, destruction, the impossibility of destroying and the impossibility of creating, since he wants both to show his rejection of the divine creation and to manifest, in the absolute, human impotence as man's reproval of God and as the testimony of his grandeur."

"I mistrust illuminations: what we take for a discovery is very often only a familiar thought that we have not recognized."

"...the reality of society involves the socialization of certain unrealities."

"I, for my part, do not conceive an act as having causes, and I consider myself satisfied when I have found in it not its 'factors' but the general themes which it organizes: for our decisions gather into new syntheses and on new occasions the leitmotif that governs our life"

"...and if you are common, you can dress up as a woman, show you behind or write poems: there's nothing offensive about a naked behind if it's everybody's; each person will be mirrored in it."

"the martyr's reflex"

"in order to make himself thoroughly undesirable, he will speak."

"For those who want 'to change life", 'to reinvent love,' God is nothing but a hindrance."

"This is the contradiction of racism, colonialism, and all forms of tyranny: in order to treat a man like a dog, one must first recognize him as a man."

"Everything is both a trap and a display; the secret reality of the object is what the Other makes of it."

"In some places the metropolis makes do with paying a clique of feudal overlords; in others, it has fabricated a fake bourgeoisie of colonized subjects in a system of divide and rule; elsewhere, it has killed two birds with one stone: the colony is both settlement and exploitation."

"Either the USSR was not the country of socialism, in which case socialism didn't exist anywhere and doubtless, wasn't possible: or else, socialism was that, this abominable monster, this police state, the power of beasts of prey."

"To believe is to know you believe, and to know you believe is not to believe."

"[W]e only become what we are by the radical and deep-seated refusal of that which others have made of us."

"To shoot down a European is to kill two birds with one stone, to destroy an oppressor and the man he oppresses at the same time.The Doctor Prescribed Violence, Adam Shatz"

": From the introduction to The Wretched of the Earth by Frantz Fanon."

"He was a generous and courageous man. He always defended the cause of the unfortunate, of the exploited, and of the oppressed. He always struggled for freedom, most often with the communists and, if necessary, against them. He believed in the strength of reason and in the contagious power of the idea of freedom. But above all, for me and I have said it several times, he was our Jean-Jacques Rousseau."

"When I was growing up in the 60s, Simone de Beauvoir and Jean-Paul Sartre were a model couple, already legendary creatures, rebels with a great many causes, and leaders of what could be called the first postwar youth movement: existentialism — a philosophy that rejected all absolutes and talked of freedom, authenticity, and difficult choices. It had its own music and garb of sophisticated black which looked wonderful against a cafe backdrop. Sartre and De Beauvoir were its Bogart and Bacall, partners in a gloriously modern love affair lived out between jazz club, cafe and writing desk, with forays on to the platforms and streets of protest. Despite being indissolubly united and bound by ideas, they remained unmarried and free to engage openly in any number of relationships. This radical departure from convention seemed breathtaking at the time."

"During the last months of the German Occupation in 1944, the young man who was to become France's most controversial contemporary philosopher and the woman who was to become its most controversial feminist met the professional criminal who was to become its most controversial playwright."

"I had gotten very much involved in the writings of the so-called Existentialists. Camus. Sartre. I retreated into myself and rejected practically everything outside. Only in the artificial surroundings of an isolated, virtually all-white college campus could I have allowed myself to cultivate this nihilistic attitude. It was as if in order to fight off the unreal quality of my environment, I leaped desperately into another equally unreal mode of living."

"Jean Paul Sartre has said that all of French Existentialism is to be found in Ivan Karamazov's contention that if there is no God, everything is permitted."

"What is it about the study of philosophy that tends to make brilliant minds stupid when it comes down to what are known as actual cases? Consider Martin Heidegger, Bertrand Russell, Jean-Paul Sartre, and Ludwig Wittgenstein, the four great names in twentieth-century philosophy: the first was a Nazi, the second died certain that America was responsible for all the world's evil, the third was a Stalinist long after any justification for being so could be adduced, and the fourth lived on the borders of madness most of his life. Contemplation of the lives of philosophers is enough to drive one to the study of sociology."

"The Critique de la raison dialectique is a nineteenth-century man's magnificent and pathetic attempt to think the twentieth century. In that sense, Sartre is the last Hegelian and, I would even say, the last Marxist."

"According to Jean-Paul Sarte, "hell is other people," but I'm not sure that Sarte wanted to spend the whole of eternity by himself."

"are we willing to accept Jean-Paul Sartre's definition of Judaism, "anti-semitism makes Jews" (that is, he even denies us the right of self-definition)? Or are there also things about us that have nothing whatsoever to do with the acts and attitudes of others?"

"The impression I came away with was one of overwhelming nostalgia. Sartre was the Last Intellectual. True, France still has writers on philosophical questions who also march in demonstrations. (One of them, Luc Ferry, has even been made the nation's minister for education.) But there will never again be a combination of totalizing theoretician, literary colossus, and political engagé like Sartre. Today's French intellectuals look like puny technocrats by comparison. Luckily, they proved to be on the winning side of history, so they can afford to be gracious to him, to say, along with de Gaulle, Sartre, c'est aussi la France."

"As a rule, philosophers found Sartre slippery; playwrights thought him didactic. But each supposed him a genius at the other activity."

"I don't think that Sartre's worst shortcoming was his failure to see straight in World War II. However, I do think that his political myopia during the occupation years should be understood in the light of his completely apolitical worldview hitherto. This is a man, after all, who managed to live through the 1930s with no apparent political engagement or response of any kind, notwithstanding a year spent in Germany and the remarkable upheaval of the Popular Front in France. There can be no doubt that, in retrospect, Sartre—like many of his friends—felt uneasy about all this. Some of his later moral writings, on the subject of good faith, bad faith, responsibility and the like, are perhaps best understood as retroactive projections of his own bad conscience. However, what has always troubled me about Sartre was his continuing failure to think straight, long after the ambiguities of the 1930s and 1940s had dissipated. Why, after all, did he so insistently refuse to discuss the crimes of communism, even to the extent of remaining conspicuously silent about anti-Semitism in Stalin's last years? The answer, of course, is that he made a deliberate decision not to think of those crimes in ethical terms, or at least in a language which would engage his own ethical commitment. In short, he found ways to avoid a difficult choice—while insistently claiming that avoiding hard choices was precisely the exercise of bad faith which he so famously defined and condemned. It was this unforgivable confusion—or, more bluntly, dissemblance—that I find unacceptable in precisely Sartre's own terms. It is not as though his generation was unusually confused or mystified: Jean-Paul Sartre was born within a year of not just Hannah Arendt but also Arthur Koestler and Raymond Aron. That generation, born around 1905, was without question the most influential intellectual cohort of the century. They reached maturity just as Hitler was coming to power and were drawn willy-nilly into the historical vortex, confronting all the tragic choices of the age with little option but to take sides or have their side chosen for them. After the war, young enough in most cases to avoid the discredit that fell upon their seniors, they exercised precocious intellectual and literary influence, dominating the European (and American) scene for decades to come."

"Jean-Paul Sartre called fossil fuels "capital bequeathed to mankind by other living beings"; they are quite literally the decayed remnants of long-dead life-forms. It's not that these substances are evil; it's just that they belong where they are: in the ground, where they are performing valuable ecological functions."

"One of the causes of the popularity of Marxism among educated people was the fact that in its simple form it was very easy; even Sartre noticed that Marxists are lazy. Indeed, they enjoyed having one key to open all doors, one universally applicable explanation for everything, an instrument that makes it possible to master all of history and economics without actually having to study either."

"I did read some Sartre. I probably was in the generation that would have read Sartre anyway. I saw one of his plays, Huis Clos, a good play. He was fashionable, and much talked about in the fifties in America. It was his high days. I realized gradually that I found him in too many ways detestable-the incredible negativity of some of his work... Of course he is out to shock and so on, but I was a very serious twenty-year-old, so I went into rebelling against Sartre, and others of that kind, so that's why I think I was making jokes about him, later on."

"The Frenchman Jean-Paul ... Sartre I remember now was — his last name had a dialectical — mind good as a machine for cybernetics, immense in its way, he could peel a nuance like an onion, but he had no sense of evil, the anguish of God, and the possible existence of Satan."

"I also have a great intellectual respect for those who followed him (Husserl), Heidegger in particular, and among my countrymen, men like Paul Ricoeur (who, however, I am still far from trusting), and Mircea Eliade (a great explorer but one who does not want to be a guide, thank goodness. I have none for Jean-Paul Sartre, who seems to me too artful, and who besides (and here he pleases me) would be quite sorry to find himself respected. (Yet I like to imagine him elected to the Academie Fancaise, an honor which he certainly deserves.) But he has offered a testimony we would be quite wrong to neglect."

"I like [his plays] better than his novels. I am not quite sure how I feel about Jean-Paul Sartre - He has something. But not perhaps enough. ??? WHO HAS? I never get with him that knock on the heart which means That is truth, that is final. That came from au delà. I expect one only gets that from the greatest."

"The nature of Sartre and Beauvoir's partnership was never a secret to their friends, and it was not a secret to the public, either, after they were abruptly launched into celebrity, in 1945. They were famous as a couple with independent lives, who met in cafés, where they wrote their books and saw their friends at separate tables, and were free to enjoy other relationships, but who maintained a kind of soul marriage. Their liaison was part of the mystique of existentialism, and it was extensively documented and coolly defended in Beauvoir's four volumes of memoirs, all of them extremely popular in France: "Memoirs of a Dutiful Daughter" (1958), "The Prime of Life" (1960), "Force of Circumstance" (1963), and "All Said and Done" (1972). Beauvoir and Sartre had no interest in varnishing the facts out of respect for bourgeois notions of decency. Disrespect for bourgeois notions of decency was precisely the point."

"Marcuse’s forte was as a philosopher. His preoccupation with epistemology and dialectics was typical of a growing trend among Marxist writers seeking to challenge the Marxism that had been customary since 1917. Jean-Paul Sartre, whose early philosophical work was constructed on the basis of ideas drawn from Edmund Husserl and Martin Heidegger, published his Critique of Dialectical Reason in 1964. This was an attempt to bring together Marxism and the existentialist school in philosophy, and – unlike any previous Marxist thinker – Sartre argued for the crucial importance of the ‘autonomous’ and ‘self-conscious’ individual in explaining and justifying social activity. Lucio Colletti in Italy went back to Marx and suggested that Immanuel Kant rather than Georg Wilhelm Friedrich Hegel had exercised the deepest influence on his thought. Colletti’s work was admired by the French communist writer Louis Althusser. But Althusser placed his emphasis elsewhere, acknowledging that some bits of Marx’s work contradicted others. This was an extraordinary admission for a Marxist to make at that time. Althusser claimed that Marxism’s claim to analytical superiority lay in the scientific method and content of Marx’s later writings; he argued that the early corpus lacked the same rigour. Marcuse, Sartre, Colletti and Althusser were style-maestros of turgidity and never tried to rise to the flights of Marx and Engels in their inspired moments. Not one of them would choose a monosyllable if a longer word could be discovered or devised. Their Marxism, if not exactly pessimistic, was cramped and cautious. What is more, they were philosophers writing mainly for other philosophers. Only Marcuse became a genuine favourite of the thousands of students who rebelled in 1968 against ‘bourgeois society’ and university discipline, as well as the American war in Vietnam."

"I could see clearly that this problem could only be solved on the individual and personal level; political revolt is irrelevant. Both Camus and Sartre had been neatly hog-tied by their earlier radicalism. Camus came to see that rebellion is a political roundabout that revolves back to the same old tyranny; too ashamed to admit that he had outgrown his leftism, he found himself in an intellectual cul-de-sac. Sartre accused Camus of being a reactionary; but he paid for his own refusal to reexamine his political convictions by congealing into a grotesque attitude of permanent indignation, shaking his fist at some abstract Authority. Where politics is concerned, he seemed determined to be guided by his emotions."

"Sartre, indeed, blames Christians for the origin of anti-Semitism because they talk of the Jews as the murderers of Jesus. (Yet he destroys the point that he had made by saying in a footnote that Jesus was really killed by the Roman soldiers as an agitator, for, in Sartre's terms, if it could be proved historically that the Jews not the Romans were the actual murderers of Jesus, then anti-Semitism by Christians might be justified.) In his anti-Christianity, Sartre himself appears as the frustrated anti-Semite and treats Christians in accordance with his idea of Christians in general, and not as they are."

"Don't let them tell us stories. Don't let them say of the man sentenced to death "He is going to pay his debt to society," but: "They are going to cut off his head." It looks like nothing. But it does make a little difference. And then there are people who prefer to look their fate in the eye."

"Nous nous trompons toujours deux fois sur ceux que nous aimons: d'abord à leur avantage, puis à leur désavantage."

"A novel is never anything but a philosophy put into images. And in a good novel, the whole of the philosophy has passed into the images. But if once the philosophy overflows the characters and action, and therefore looks like a label stuck on the work, the plot loses its authenticity and the novel its life. Nevertheless, a work that is to last cannot dispense with profound ideas. And this secret fusion between experiences and ideas, between life and reflection on the meaning of life, is what makes the great novelist."

"It is the failing of a certain literature to believe that life is tragic because it is wretched. Life can be magnificent and overwhelming — that is its whole tragedy. Without beauty, love, or danger it would be almost easy to live. And M. Sartre's hero does not perhaps give us the real meaning of his anguish when he insists on those aspects of man he finds repugnant, instead of basing his reasons for despair on certain of man's signs of greatness. The realization that life is absurd cannot be an end, but only a beginning. This is a truth nearly all great minds have taken as their starting point. It is not this discovery that is interesting, but the consequences and rules of action drawn from it."

"Perhaps we cannot prevent this world from being a world in which children are tortured. But we can reduce the number of tortured children. And if you don't help us, who else in the world can help us do this?"

"We have exiled beauty; the Greeks took up arms for her."

"We turn our backs on nature; we are ashamed of beauty. Our wretched tragedies have a smell of the office clinging to them, and the blood that trickles from them is the color of printer's ink."

"Man cannot do without beauty, and this is what our era pretends to want to disregard. It steels itself to attain the absolute and authority; it wants to transfigure the world before having exhausted it, to set it to rights before having understood it. Whatever it may say, our era is deserting this world."

"Toute idée fausse finit dans le sang, mais il s'agit toujours du sang des autres. C'est ce qui explique que certains de nos philosophes se sentent à l'aise pour dire n'importe quoi."

"Simone Weil, je le sais encore maintenant, est le seul grand esprit de notre temps et je souhaite que ceux qui le reconnaissent en reçoivent assez de modestie pour ne pas essayer d'annexer ce témoignage bouleversant. Pour moi, je serais comblé si l'on pouvait dire qu'à ma place, et avec les faibles moyens dont je dispose, j'ai servi à faire connaître et à répandre son oeuvre dont on n'a pas encore mesuré tout le retentissement."

"One does not decide the truth of a thought according to whether it is right-wing or left-wing."

"O light! This is the cry of all the characters of ancient drama brought face to face with their fate. This last resort was ours, too, and I knew it now. In the middle of winter I at last discovered that there was in me an invincible summer."

"Hungary conquered and in chains has done more for freedom and justice than any people for twenty years. But for this lesson to get through and convince those in the West who shut their eyes and ears, it was necessary, and it can be no comfort to us, for the people of Hungary to shed so much blood which is already drying in our memories. In Europe's isolation today, we have only one way of being true to Hungary, and that is never to betray, among ourselves and everywhere, what the Hungarian heroes died for, never to condone, among ourselves and everywhere, even indirectly, those who killed them. It would indeed be difficult for us to be worthy of such sacrifices."

"With rebellion, awareness is born."

"A living man can be enslaved and reduced to the historic condition of an object. But if he dies in refusing to be enslaved, he reaffirms the existence of another kind of human nature which refuses to be classified as an object."

"There is not love of life without despair about life."

"Accepting the absurdity of everything around us is one step, a necessary experience: it should not become a dead end. It arouses a revolt that can become fruitful."

"Knowing that certain nights whose sweetness lingers will keep returning to the earth and sea after we are gone, yes, this helps us to die."

"Life continues, and some mornings, weary of the noise, discouraged by the prospect of the interminable work to keep after, sickened also by the madness of the world that leaps at you from the newspaper, finally convinced that I will not be equal to it and that I will disappoint everyone—all I want to do is sit down and wait for evening. This is what I feel like, and sometimes I yield to it."

"Autumn is a second Spring when every leaf is a flower."

"Ce que, finalement, je sais de plus sûr sur la morale et les obligations des hommes, c'est au football que je le dois."

"If there is a sin against life, it consists perhaps not so much in despairing of life as in hoping for another life and in eluding the implacable grandeur of this life."

"The direction of the world overwhelms me at this time. In the long run, all the continents (yellow, black and brown) will spill over onto Old Europe. They are hundreds and hundreds of millions. They are hungry and they are not afraid to die. We no longer know how to die or how to kill. We could preach, but Europe believes in nothing. So, we must wait for the year 1000 or a miracle. For my part, I find it harder and harder to live before a wall."

"Seulement, il faut du temps pour être heureux. Beaucoup de temps. Le bonheur lui aussi est une longue patience."

"Avoir de l'argent c'est se libérer de l'argent."

"It's better to bet on this life than on the next."

"It takes time to live. Like any work of art, life needs to be thought about."

"To have time was at once the most magnificent and the most dangerous of experiments. Idleness is fatal only to the mediocre."

"Believe me, there is no such thing as great suffering, great regret, great memory...Everything is forgotten, even great love."

"He marveled at the strange blindness by which men, though they are so alert to what changes in themselves, impose on their friends an image chosen for them once and for all. He was being judged by what he had been. Just as dogs don't change character, men are dogs to one another."

"Happiness implied a choice, and within that choice a concerted will, a lucid desire."

"The opposite of an idealist is too often a man without love."

"Fate is not in man but around him."

"Idleness is only fatal to the mediocre."

"Blessed are the hearts that can bend; they shall never be broken."

"He discovered the cruel paradox by which we always deceive ourselves twice about the people we love — first to their advantage, then to their disadvantage."

"He realized now that to be afraid of this death he was staring at with animal terror meant to be afraid of life. Fear of dying justified a limitless attachment to what is alive in man. And all those who had not made the gestures necessary to live their lives, all those who feared and exalted impotence — they were afraid of death because of the sanction it gave to a life in which they had not been involved. They had not lived enough, never having lived at all."

"But in the end one needs more courage to live than to kill himself."

"Aujourd'hui maman est morte. Ou peut-être hier, je ne sais pas."

"I hope the dogs don't bark tonight. I always think it's mine."

"I was assailed by memories of a life that wasn't mine anymore, but one in which I'd found the simplest and most lasting joys."

"Since we're all going to die, it's obvious that when and how don't matter."

"Of course, I had to own that he was right; I didn't feel much regret for what I'd done. Still, to my mind, he overdid it, and I'd have liked to have a chance of explaining to him, in a quite friendly, almost affectionate way, that I have never been able to really regret anything in all my life. I've always been far too much absorbed in the present moment, or the immediate future, to think back."

"The papers were always talking about the debt owed to society. According to them, it had to be paid. But that doesn't speak to the imagination. What really counted was the possibility of escape, a leap to freedom, out of the implacable ritual, a wild run for it that would give whatever chance for hope there was. Of course, hope meant being cut down on some street corner, as you ran like mad, by a random bullet. But when I really thought it through, nothing was going to allow me such a luxury. Everything was against it; I would just be caught up in the machinery again."

"I may not have been sure about what really did interest me, but I was absolutely sure about what didn't."

"[I]l me restait peu de temps. Je ne voulais pas le perdre avec Dieu."

"Maman used to say that you can always find something to be happy about."

"I don't know why, but something inside me snapped. I started yelling at the top of my lungs, and I insulted him and told him not to waste his prayers on me. I grabbed him by the collar of his cassock. I was pouring out on him everything that was in my heart, cries of anger and cries of joy. He seemed so certain about everything, didn't he? And yet none of his certainties was worth one hair of a woman's head. He wasn't even sure he was alive, because he was living like a dead man. Whereas it looked as if I was the one who'd come up emptyhanded. But I was sure about me, about everything, surer than he could ever be, sure of my life and sure of the death I had waiting for me. Yes, that was all I had. But at least I had as much of a hold on it as it had on me. I had been right, I was still right, I was always right. I had lived my life one way and I could just as well have lived it another. I had done this and I hadn't done that. I hadn't done this thing but I had done another. And so? It was as if I had waited all this time for this moment and for the first light of this dawn to be vindicated. Nothing, nothing mattered, and I knew why. So did he. Throughout the whole absurd life I'd lived, a dark wind had been rising toward me from somewhere deep in my future, across years that were still to come, and as it passed, this wind leveled whatever was offered to me at the time, in years no more real than the ones I was living. What did other people's deaths or a mother's love matter to me; what did his God or the lives people choose or the fate they think they elect matter to me when we're all elected by the same fate, me and billions of privileged people like him who also called themselves my brothers? Couldn't he see, couldn't he see that? Everybody was privileged. There were only privileged people. The others would all be condemned one day. And he would be condemned, too."

"For the first time in a long time I thought about Maman. I felt as if I understood why at the end of her life she had taken a 'fiancé,' why she had played at beginning again. Even there, in that home where lives were fading out, evening was a kind of wistful respite. So close to death, Maman must have felt free then and ready to live it all again. Nobody, nobody had the right to cry over her. And I felt ready to live it all again too. As if the blind rage had washed me clean, rid me of hope; for the first time, in that night alive with signs and stars, I opened myself to the gentle indifference of the world. Finding it so much like myself — so like a brother, really — I felt I had been happy and that I was happy again. For everything to be consummated, for me to feel less alone, I had only to wish that there be a large crowd of spectators the day of my execution and that they greet me with cries of hate."

"Those who need myths are indeed poor. Here the gods serve as beds or resting places as the day races across the sky."

"Nothing is harder to understand than a symbolic work. A symbol always transcends the one who makes use of it and makes him say in reality more than he is aware of expressing."

"What must be remembered in any case is that secret complicity that joins the logical and the everyday to the tragic."

"There is but one truly serious philosophical problem and that is suicide. Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy. All the rest – whether or not the world has three dimensions, whether the mind has nine or twelve categories – comes afterwards. These are games; one must first answer. And if it is true, as Nietzsche claims, that a philosopher, to deserve our respect, must preach by example, you can appreciate the importance of that reply, for it will precede the definitive act. These are facts the heart can feel; yet they call for careful study before they become clear to the intellect. If I ask myself how to judge that this question is more urgent than that, I reply that one judges by the actions it entails. I have never seen anyone die for the ontological argument."

"With the exception of professional rationalists, today people despair of true knowledge. If the only significant history of human thought were to be written, it would have to be history of its successive regrets and impotences."

"What, then, is that incalculable feeling that deprives the mind of the sleep necessary to life? A world that can be explained even with bad reasons is a familiar world. But, on the other hand, in a universe suddenly divested of illusions and lights, man feels an alien, a stranger. His exile is without remedy since he is deprived of the memory of a lost home or the hope of a promised land. This divorce between man and his life, the actor and his setting, is properly the feeling of absurdity."

"Like great works, deep feelings always mean more than they are conscious of saying."

"Great novelists are philosopher novelists — that is, the contrary of thesis-writers."

"We get into the habit of living before acquiring the habit of thinking."

"Great feelings take with them their own universe, splendid or abject. They light up with their passion an exclusive world in which they recognize their climate. There is a universe of jealousy, of ambition, of selfishness or generosity. A universe — in other words a metaphysic and an attitude of mind."

"At any street corner the feeling of absurdity can strike any man in the face."

"It happens that the stage sets collapse. Rising, streetcar, four hours in the office or the factory, meal, streetcar, four hours of work, meal, sleep and Monday Tuesday Wednesday Thursday Friday and Saturday according to the same rhythm — this path is easily followed most of the time. But one day the "why" arises and everything begins in that weariness tinged with amazement."

"This heart within me I can feel, and I judge that it exists. This world I can touch, and I likewise judge that it exists. There ends all my knowledge, and the rest is construction. For if I try to seize this self of which I feel sure, if I try to define and to summarize it, it is nothing but water slipping through my fingers. I can sketch one by one all the aspects it is able to assume, all those likewise that have been attributed to it, this upbringing, this origin, this ardor or these silences, this nobility or this vileness. But aspects cannot be added up. This very heart which is mine will forever remain indefinable to me. Between the certainty I have of my existence and the content I try to give to that assurance, the gap will never be filled. Forever I shall be a stranger to myself."

"I do not want to found anything on the incomprehensible. I want to know whether I can live with what I know and with that alone."

"Everything considered, a determined soul will always manage."

"I don't know whether this world has a meaning that transcends it. But I know that I cannot know that meaning and that it is impossible for me just now to know it. What can a meaning outside my condition mean to me? I can understand only in human terms. What I touch, what resists me — that I understand. And these two certainties — my appetite for the absolute and for unity and the impossibility of reducing this world to a rational and reasonable principle — I also know that I cannot reconcile them. What other truth can I admit without lying, without bringing in a hope I lack and which means nothing within the limits of my conditions?"

"Knowing whether or not one can live without appeal is all that interests me."

"Nobody realizes that some people expend tremendous energy merely to be normal. (This quotation is from Notebook IV in Notebooks: 1942-1951, not Myth of Sisyphus. The quotation appears in none of Camus books you find in bookstores)."

"The absurd is the essential concept and the first truth."

"To two men living the same number of years, the world always provides the same sum of experiences. It is up to us to be conscious of them."

"The preceding merely defines a way of thinking. But the point is to live."

"At this point of his effort man stands face to face with the irrational. He feels within him his longing for happiness and for reason. The absurd is born of this confrontation between the human need and the unreasonable silence of the world. This must not be forgotten. This must be clung to because the whole consequence of a life can depend on it. The irrational, the human nostalgia, and the absurd that is born of their encounter — these are the three characters in the drama that must necessarily end with all the logic of which an existence is capable."

"Un homme se définit aussi bien par ses comédies que par ses élans sincères."

""My field," said Goethe, "is time." That is indeed the absurd speech. What, in fact, is the Absurd Man? He who, without negating it, does nothing for the eternal. Not that nostalgia is foreign to him. But he prefers his courage and his reasoning. The first teaches him to live without appeal and to get along with what he has; the second informs him of his limits. Assured of his temporally limited freedom, of his revolt devoid of future, and of his mortal consciousness, he lives out his adventure within the span of his lifetime."

"There can be no question of holding forth on ethics. I have seen people behave badly with great morality and I note every day that integrity has no need of rules. There is but one moral code that the absurd man can accept, the one that is not separated from God: the one that is dictated. But it so happens that he lives outside that God. As for the others (I mean also immoralism), the absurd man sees nothing in them but justifications and he has nothing to justify. I start out here from the principle of his innocence. That innocence is to be feared. "Everything is permitted," exclaims Ivan Karamazov. That, too, smacks of the absurd. But on condition that it not be taken in a vulgar sense. I don't know whether or not it has been sufficiently pointed out that it is not an outburst of relief or of joy, but rather a bitter acknowledgment of a fact."

"The absurd does not liberate; it binds. It does not authorize all actions. "Everything is permitted" does not mean that nothing is forbidden."

"All systems of morality are based on the idea that an action has consequences that legitimize or cancel it. A mind imbued with the absurd merely judges that those consequences must be considered calmly. It is ready to pay up. In other words, there may be responsible persons, but there are no guilty ones, in its opinion. At very most, such a mind will consent to use past experience as a basis for its future actions."

"Time will prolong time, and life will serve life. In this field that is both limited and bulging with possibilities, everything to himself, except his lucidity, seems unforeseeable to him. What rule, then, could emanate from that unreasonable order? The only truth that might seem instructive to him is not formal: it comes to life and unfolds in men. The absurd mind cannot so much expect ethical rules at the end of its reasoning as, rather, illustrations and the breath of human lives."

"A sub-clerk in the post office is the equal of a conqueror if consciousness is common to them. All experiences are indifferent in this regard. There are some that do either a service or a disservice to man. They do him a service if he is conscious. Otherwise, that has no importance: a man's failures imply judgment, not of circumstances, but of himself."

"A man is more a man through the things he keeps to himself than through those he says."

"To become god is merely to be free on this earth, not to serve an immortal being."

"Existence is illusory and it is eternal."

"There is no mystery in humans creation. Will performs this miracle. But at least there is no true creation without a secret."

"If the world were clear, art would not exist."

"One recognizes one's course by discovering the paths that stray from it."

"To work and create "for nothing," to sculpture in clay, to know one's creation has no future, to see one's work destroyed in a day while being aware that fundamentally this has no more importance than building for centuries — this is the difficult wisdom that absurd thought sanctions. Performing these two tasks simultaneously, negating on the one hand and magnifying on the other, it the way open to the absurd creator. He must give the void its colors."

"A profound thought is in a constant state of becoming; it adopts the experience of a life and assumes its shape. Likewise, a man's sole creation is strengthened in its successive and multiple aspects: his works. One after another they complement one another, correct or overtake one another, contradict one another, too. If something brings creation to an end, it is not the victorious and illusory cry of the blinded artist: "I have said everything," but the death of the creator which closes his experiences and the book of his genius. That effort, that superhuman consciousness are not necessarily apparent to the reader. There is no mystery in human creation. Will performs this miracle. But at least there is no true creation without a secret. To be true, a succession of works can be but a series of approximations of the same thought. But it is possible to conceive of another type of creator proceeding by juxtaposition. Their words may seem to be devoid of inter-relations, to a certain degree, they are contradictory. But viewed all together, they resume their natural grouping."

"Of all the schools of patience and lucidity, creation is the most effective. It is also the staggering evidence of man's sole dignity: the dogged revolt against his condition, perseverance in an effort considered sterile. It calls for a daily effort, self-mastery, a precise estimate of the limits of truth, measure, and strength. It constitutes an ascesis. All that "for nothing," in order to repeat and mark time. But perhaps the great work of art has less importance in itself than in the ordeal it demands of a man and the opportunity it provides him of overcoming his phantoms and approaching a little closer to his naked reality."

"Ironic philosophies produce passionate works. Any thought that abandons unity glorifies diversity! And diversity is the home of art. The only thought to liberate the mind is that which leaves it alone, certain of its limits and of its impending end. No doctrine tempts it. It awaits the ripening of the work and of life."

"In that daily effort in which intelligence and passion mingle and delight each other, the absurd man discovers a discipline that will make up the greatest of his strengths. The required diligence and doggedness and lucidity thus resemble the conqueror's attitude. To create is likewise to give a shape to one's fate. For all these characters, their work defines them at least as much as it is defined by them. The actor taught us this: There is no frontier between being and appearing."

"Outside of that single fatality of death, everything, joy or happiness, is liberty."

"The world evades us because it becomes itself again. That stage scenery masked by habit becomes what it is. It withdraws at a distance from us."

"If the only significant history of human thought were to be written, it would have to be the history of its successive regrets and its impotences."

"A fate is not a punishment."

"The actor's realm is that of the fleeting."

"This was her finest role and the hardest one to play. Choosing between heaven and a ridiculous fidelity, preferring oneself to eternity or losing oneself in God is the age-old tragedy in which each must play his part."

"The gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back of its own weight. They had thought with some reason that there is no more dreadful punishment than futile and hopeless labor."

"Opinions differ as to the reasons why he became the futile laborer of the underworld. To begin with, he is accused of a certain levity in regard to the gods. He stole their secrets."

"Homer tells us also that Sisyphus had put Death in chains. Pluto could not endure the sight of his deserted, silent empire. He dispatched the god of war, who liberated Death from the hands of her conqueror."

"You have already grasped that Sisyphus is the absurd hero. He is, as much through his passions as through his torture. His scorn of the gods, his hatred of death, and his passion for life won him that unspeakable penalty in which the whole being is exerted toward accomplishing nothing. This is the price that must be paid for the passions of this earth. Nothing is told us about Sisyphus in the underworld. Myths are made for the imagination to breathe life into them."

"One does not discover the absurd without being tempted to write a manual of happiness. "What! — by such narrow ways — ?" There is but one world, however. Happiness and the absurd are two sons of the same earth. They are inseparable. It would be a mistake to say that happiness necessarily springs from the absurd discovery. It happens as well that the feeling of the absurd springs from happiness."

""I conclude that all is well," says Oedipus, and that remark is sacred. It echoes in the wild and limited universe of man. It teaches that all is not, has not been, exhausted. It drives out of this world a god who had come into it with dissatisfaction and a preference for futile suffering. It makes of fate a human matter, which must be settled among men."

"There is no fate that can not be surmounted by scorn. If the descent is thus sometimes performed in sorrow, it can also take place in joy. This word is not too much. Again I fancy Sisyphus returning toward his rock, and the sorrow was in the beginning."

"His fate belongs to him. His rock is his thing."

"The absurd man says yes and his effort will henceforth be unceasing."

"I leave Sisyphus at the foot of the mountain! One always finds one's burden again. But Sisyphus teaches the higher fidelity that negates the gods and raises rocks. He too concludes that all is well. This universe henceforth without a master seems to him neither sterile nor futile. Each atom of that stone, each mineral flake of that night filled mountain, in itself forms a world. The struggle itself toward the heights is enough to fill a man's heart. One must imagine Sisyphus happy."

"I said that the world is absurd, but I was too hasty. This world in itself is not reasonable, that is all that can be said. But what is absurd is the confrontation of this irrational and the wild longing for clarity whose call echoes in the human heart."

"So many men are deprived of grace. How can one live without grace? One has to try it and do what Christianity never did: be concerned with the damned."

"Il y a toujours une philosophie pour le manque de courage."

"The greatest saving one can make in the order of thought is to accept the unintelligibility of the world — and to pay attention to man."

"Pauvre et libre plutôt que riche et asservi. Bien entendu les hommes veulent être et riches et libres et c'est ce qui les conduit quelquefois à être pauvres et esclaves."

"An intellectual is someone whose mind watches itself."

"The world is what it is, which is to say, nothing much. This is what everyone learned yesterday, thanks to the formidable concert of opinion coming from radios, newspapers, and information agencies. Indeed we are told, in the midst of hundreds of enthusiastic commentaries, that any average city can be wiped out by a bomb the size of a football. American, English, and French newspapers are filled with eloquent essays on the future, the past, the inventors, the cost, the peaceful incentives, the military advantages, and even the life-of-its-own character of the atom bomb. We can sum it up in one sentence: Our technical civilization has just reached its greatest level of savagery. We will have to choose, in the more or less near future, between collective suicide and the intelligent use of our scientific conquests. Meanwhile we think there is something indecent in celebrating a discovery whose use has caused the most formidable rage of destruction ever known to man. What will it bring to a world already given over to all the convulsions of violence, incapable of any control, indifferent to justice and the simple happiness of men — a world where science devotes itself to organized murder? No one but the most unrelenting idealists would dare to wonder."

"Even before the bomb, one did not breathe too easily in this tortured world. Now we are given a new source of anguish; it has all the promise of being our greatest anguish ever. There can be no doubt that humanity is being offered its last chance. Perhaps this is an occasion for the newspapers to print a special edition. More likely, it should be cause for a certain amount of reflection and a great deal of silence."

"Let us be understood. If the Japanese surrender after the destruction of Hiroshima, having been intimidated, we will rejoice. But we refuse to see anything in such grave news other than the need to argue more energetically in favor of a true international society, in which the great powers will not have superior rights over small and middle-sized nations, where such an ultimate weapon will be controlled by human intelligence rather than by the appetites and doctrines of various states. Before the terrifying prospects now available to humanity, we see even more clearly that peace is the only goal worth struggling for. This is no longer a prayer but a demand to be made by all peoples to their governments — a demand to choose definitively between hell and reason."

"Query: How to contrive not to waste one's time? Answer: By being fully aware of it all the while. Ways in which this can be done: By spending one's days on an uneasy chair in a dentist's waiting room; by remaining on one's balcony all a Sunday afternoon; by travelling by the longest and least-convenient train routes, and of course standing all the way; by queueing at the box-office of theatres and then not booking a seat."

"When a war breaks out, people say: "It's too stupid; it can't last long." But though the war may well be "too stupid," that doesn't prevent its lasting. Stupidity has a knack of getting its way; as we should see if we were not always so much wrapped up in ourselves."

"A scourge is not on a human scale, and so people say it isn't real; it's a bad dream that will pass. But is doesn't always pass, and, from bad dream to bad dream, it's the humans who pass, and the humanists first, because they didn't heed the warnings."

"He tried to recall what he had read about the disease. Figures floated across his memory, and he recalled that some thirty or so great plagues known to history had accounted for nearly a hundred million deaths. But what are a hundred million deaths? When one has served in a war, one hardly knows what a dead man is, after a while. And since a dead man has no substance unless one actually sees him dead, a hundred million corpses broadcast through history are no more than a puff of smoke in the imagination."

"There lay certitude; there, in the daily round. All the rest hung on mere threads and trivial contingencies; you couldn't waste your time on it. The thing was to do your job as it should be done."

"What on earth prompted you to take a hand in this?" "I don't know. My... my code of morals, perhaps." "Your code of morals. What code, if I may ask?" "Comprehension."

"The important thing isn't the soundness or otherwise of the argument, but for it to make you think."

"The evil that is in the world always comes of ignorance, and good intentions may do as much harm as malevolence, if they lack understanding. On the whole men are more good than bad; that, however, isn't the real point. But they are more or less ignorant, and it is this that we call vice or virtue; the most incorrigible vice being that of an ignorance which fancies it knows everything and therefore claims for itself the right to kill. There can be no true goodness, nor true love, without the utmost clear-sightedness."

"There always comes a time in history when the person who dares to say that 2+2=4 is punished by death. And the issue is not what reward or what punishment will be the outcome of that reasoning. The issue is simply whether or not 2+2=4."

"Yes, there was an element of abstraction and unreality in misfortune. But when an abstraction starts to kill you, you have to get to work on it."

"In Oran, as elsewhere, for want of time and thought, people have to love one another without knowing it."

"Can one be a saint without God?, that's the problem, in fact the only problem, I'm up against today."

"The rest of the story, to Grand's thinking, was very simple. The common lot of married couples. You get married, you go on loving a bit longer, you work. And you work so hard that it makes you forget to love."

"Yes, everyone sleeps at that hour, and this is reassuring, since the great longing of an unquiet heart is to possess constantly and consciously the loved one..."

"'I'm glad to know he's [Paneloux] better than his sermon.'"

"'At my age one's got to be sincere. Lying's too much effort.'"

"He kept the middle way, that's all: he was the type of man for whom one has an affection of the mild but steady order - which is the kind that wears best."

"At that moment he knew what his mother was thinking, and that she loved him. But he knew, too, that to love someone means relatively little; or, rather, that love is never wrong enough to find the word befitting it."

"...there are more things to admire in men than to despise."

"The absurd ... is an experience to be lived through, a point of departure, the equivalent, in existence of Descartes' methodical doubt. Absurdism, like methodical doubt, has wiped the slate clean. It leaves us in a blind alley. But, like methodical doubt, it can, by returning upon itself, open up a new field of investigation, and in the process of reasoning then pursues the same course. I proclaim that I believe in nothing and that everything is absurd, but I cannot doubt the validity of my proclamation and I must at least believe in my protest. The first and only evidence that is supplied me, within the terms of the absurdist experience, is rebellion ... Rebellion is born of the spectacle of irrationality, confronted with an unjust and incomprehensible condition."

"Absolute freedom mocks at justice. Absolute justice denies freedom. To be fruitful, the two ideas must find their limits in each other."

"What is a rebel? A man who says no."

"The slave begins by demanding justice and ends by wanting to wear a crown. He must dominate in his turn."

"One might think that a period which, in a space of fifty years, uproots, enslaves, or kills seventy million human beings should be condemned out of hand. But its culpability must still be understood... In more ingenuous times, when the tyrant razed cities for his own greater glory, when the slave chained to the conqueror's chariot was dragged through the rejoicing streets, when enemies were thrown to the wild beasts in front of the assembled people, the mind did not reel before such unabashed crimes, and the judgment remained unclouded. But slave camps under the flag of freedom, massacres justified by philanthropy or by a taste for the superhuman, in one sense cripple judgment. On the day when crime dons the apparel of innocence — through a curious transposition peculiar to our times — it is innocence that is called upon to justify itself."

"If Nietzsche and Hegel serve as alibis to the masters of Dachau and Karaganda, that does not condemn their entire philosophy. But it does lead to the suspicion that one aspect of their thought, or of their logic, can lead to these appalling conclusions."

"Every ideology is contrary to human psychology."

"Every rebellion implies some kind of unity."

"Every revolutionary ends as an oppressor or a heretic."

"Nothing can discourage the appetite for divinity in the heart of man."

"For those of us who have been thrown into hell, mysterious melodies and the torturing images of a vanished beauty will always bring us, in the midst of crime and folly, the echo of that harmonious insurrection which bears witness, throughout the centuries, to the greatness of humanity."

"When the throne of God is overturned, the rebel realizes that it is now his own responsibility to create the justice, order, and unity that he sought in vain within his own condition, and in this way to justify the fall of God. Then begins the desperate effort to create, at the price of crime and murder if necessary, the dominion of man."

""The real saint", Baudelaire pretends to think, "is he who flogs and kills people for their own good." His argument will be heard. A race of real saints is beginning to spread over the earth for the purposes of confirming these curious conclusions about rebellion."

"The words that reverberate for us at the confines of this long adventure of rebellion are not formulas for optimism, for which we have no possible use in the extremities of our unhappiness, but words of courage and intelligence which, on the shores of the eternal seas, even have the qualities of virtue."

"Then we understand that rebellion cannot exist without a strange form of love. Those who find no rest in God or in history are condemned to live for those who, like themselves, cannot live; in fact, for the humiliated."

"In the light, the earth remains our first and our last love. Our brothers are breathing under the same sky as we; justice is a living thing. Now is born that strange joy which helps one live and die, and which we shall never again postpone to a later time."

"I rebel — therefore we exist."

"Whatever we may do, excess will always keep its place in the heart of man, in the place where solitude is found. We all carry within us our places of exile, our crimes and our ravages. But our task is not to unleash them on the world; it is to fight them in ourselves and in others."

"Man is the only creature who refuses to be what he is."

"The most elementary form of rebellion, paradoxically, expresses an aspiration for order."

"Real fulfillment, for the man who allows absolutely free rein to his desires, and who much dominate everything, lies in hatred."

"Metaphysical rebellion is a claim, motivated by the concept of a complete unity, against the suffering of life and death and a protest against the human condition both for its incompleteness, thanks to death, and its wastefulness, thanks to evil."

"Alyosha can, in fact, treat Ivan with compassion as a "real simpleton." The latter only made an attempt at self-control and failed. Others will appear, with more serious intentions, who, on the basis of the same despairing nihilism, will insist on ruling the world. These are the Grand Inquisitors who imprison Christ and come to tell Him that His method is not correct, that universal happiness cannot be achieved by the immediate freedom of choosing between good and evil, but by the domination and unification of the world. The first step is to conquer and rule. The kingdom of heaven will, in fact, appear on earth, but it will be ruled over by men — a mere handful to begin with, who will be the Caesars, because they were the first to understand — and later, with time, by all men. The unity of all creation will be achieved by every possible means, since everything is permitted. The Grand Inquisitor is old and tired, for the knowledge he possesses is bitter. He knows that men are lazy rather than cowardly and that they prefer peace and death to the liberty of discerning between good and evil. He has pity, a cold pity, for the silent prisoner whom history endlessly deceives. He urges him to speak, to recognize his misdeeds, and, in one sense, to approve the actions of the Inquisitors and of the Caesars. But the prisoner does not speak."

"A nihilist is not one who believes in nothing, but one who does not believe in what exists."

"The ancients, even though they believed in destiny, believed primarily in nature, in which they participated wholeheartedly. To rebel against nature amounted to rebelling against oneself. It was butting one's head against a wall."

"A character is never the author who created him. It is quite likely, however, that an author may be all his characters simultaneously."

"Art is the activity that exalts and denies simultaneously. "No artist tolerates reality," says Nietzsche."

"The artist reconstructs the world to his plan."

"Artistic creation is a demand for unity and a rejection of the world."

"In every rebellion is to be found the metaphysical demand for unity, the impossibility of capturing it, and the construction of a substitute universe."

"The contradiction is this: man rejects the world as it is, without accepting the necessity of escaping it. In fact, men cling to the world and by far the majority do not want to abandon it."

"No human being, even the most passionately loved and passionately loving, is ever in our possession."

"Art, at least, teaches us that man cannot be explained by history alone and that he also finds a reason for his existence in the order of nature."

"L'homme enfin n'est pas entièrement coupable — il n'a pas commencé l'histoire — ni tout à fait innocent, puisqu'il la continue."

"La vraie générosité envers l'avenir consiste à tout donner au présent."

"There is merely bad luck in not being loved; there is misfortune in not loving. All of us, today, are dying of this misfortune. For violence and hatred dry up the heart itself; the long fight for justice exhausts the love that nevertheless gave birth to it."

"To be happy, we must not be too concerned with others."

"This is the truth," we say. "You can discuss it as much as you want; we aren't interested. But in a few years there'll be the police who will show you we are right."

"In order to cease being a doubtful case, one has to cease being, that's all."

"Thus I progressed on the surface of life, in the realm of words as it were, never in reality. All those books barely read, those friends barely loved, those cities barely visited, those women barely possessed! I went through the gestures out of boredom or absent-mindedness. Then came the human beings, they wanted to cling, but there was nothing to cling to, and that was unfortunate – for them. As for me, I forgot. I never remembered anything but myself."

"Martyrs must choose between being forgotten, mocked, or made use of. As for being understood—never!"

"Let's not beat around the bush; I love life — that's my real weakness. I love it so much that I am incapable of imagining what is not life."

"God is not needed to create guilt or to punish. Our fellow men suffice, aided by ourselves."

"Truth, like light, blinds. Falsehood, on the contrary, is a beautiful twilight that enhances every object."

"For anyone who is alone, without God and without a master, the weight of days is dreadful. Hence one must choose a master, God being out of style."

"N'attendez pas le Jugement dernier. Il a lieu tous les jours."

"You know what charm is: a way of getting the answer 'yes' without having asked any clear question."

"The essential is to cease being free and to obey, in repentance, a greater rogue than oneself. When we are all guilty, that will be democracy."

"Capital punishment is the most premeditated of murders, to which no criminal's deed, however calculated, can be compared. For there to be an equivalency, the death penalty would have to punish a criminal who had warned his victim of the date on which he would inflict a horrible death on him and who, from that moment onward, had confined him at his mercy for months. Such a monster is not to be encountered in private life."

"A punishment that penalizes without forestalling is indeed called revenge."

"When the imagination sleeps, words are emptied of their meaning: a deaf population absent-mindedly registers the condemnation of a man. ... there is no other solution but to speak out and show the obscenity hidden under the verbal cloak."

"What will be left of the power of example if it is proved that capital punishment has another power, and a very real one, which degrades men to the point of shame, madness, and murder?"

"I do not have much liking for the too famous existential philosophy, and, to tell the truth, I think its conclusions false."

"The welfare of the people in particular has always been the alibi of tyrants, and it provides the further advantage of giving the servants of tyranny a good conscience. It would be easy, however, to destroy that good conscience by shouting to them: if you want the happiness of the people, let them speak out and tell what kind of happiness they want and what kind they don't want! But, in truth, the very ones who make use of such alibis know they are lies; they leave to their intellectuals on duty the chore of believing in them and of proving that religion, patriotism, and justice need for their survival the sacrifice of freedom."

"The aim of art, the aim of a life can only be to increase the sum of freedom and responsibility to be found in every man and in the world. It cannot, under any circumstances, be to reduce or suppress that freedom, even temporarily."

"Manhattan. Sometimes from beyond the skyscrapers, across of thousands of high walls, the cry of a tugboat finds you in your insomnia in the middle of the night, and you remember that this desert of iron and cement is an island."

"Great novelists are philosopher-novelists who write in images instead of arguments."

"Should I kill myself, or have a cup of coffee?"

"Fiction is the lie through which we tell the truth."

"The only way to deal with an unfree world is to become so absolutely free that your very existence is an act of rebellion."

"Don’t walk behind me, I may not lead. Don’t walk in front of me, I may not follow. Just walk beside me and be my friend."

"We all have a weakness for beauty."

"There are causes worth dying for, but none worth killing for."

"I think my life is of great importance, but I also think it is meaningless."

"Always go too far, because that's where you'll find the truth."

"In "L'artiste et son temps," translated into English as "Create Dangerously," Camus writes: "Art cannot be a monologue. We are on the high seas. The artist, like everyone else, must bend to his oar, without dying if possible"...There are many possible interpretations of what it means to create dangerously, and Albert Camus, like the poet Osip Mandelstam, suggests that it is creating as a revolt against silence, creating when both the creation and the reception, the writing and the reading, are dangerous undertakings, disobedience to a directive."

"Albert Camus once wrote that a person's creative work is nothing but a slow trek to rediscover, through the detours of art, those two or three images in whose presence his or her heart first opened."

"I had gotten very much involved in the writings of the so-called Existentialists. Camus. Sartre. I retreated into myself and rejected practically everything outside. Only in the artificial surroundings of an isolated, virtually all-white college campus could I have allowed myself to cultivate this nihilistic attitude. It was as if in order to fight off the unreal quality of my environment, I leaped desperately into another equally unreal mode of living."

"As a writer Camus maintained his independence from both friends and enemies in the political and philosophical movements that attempted to subvert his writing to their own ends. ... Camus combines a taut writing style, as well as profound insights on society, with the courage to report back from the abyss of despair, unblinking."

"What was also unusual for Americans was that so many of the revered figures were writers and intellectuals. This is perhaps because to a very large extent theirs was a movement from the universities. Perhaps the single most influential writer for young people in the sixties was Algerian-born French Nobel Prize laureate Albert Camus, who died in 1960 in an automobile crash at age forty-seven, just as what should have been his best decade was beginning. Because of his 1942 essay, “The Myth of Sisyphus,” in which he argued that the human condition was fundamentally absurd, he was often associated with the existential movement. But he refused to consider himself part of that group. He was not a joiner, which is one of the reasons he was more revered than the existentialist and communist Jean-Paul Sartre, even though Sartre lived through and even participated in the sixties student movements. Camus, who worked with the Resistance against the Nazi occupiers of France editing an underground newspaper, Le Combat, often wrote from the perspective of a moral imperative to act. His 1948 novel, The Plague, is about a doctor who risks his life and family to rid his community of a sickness he discovers. In the 1960s, students all over the world read The Plague and interpreted it as a call to activism. Mario Savio’s famous 1964 speech, “There’s a time when the operation of the machine becomes so odious . . . you’ve got to put your bodies upon the gears . . . and you’ve got to make it stop,” sounds like a line from The Plague. “There are times when the only feeling I have is one of mad revolt,” Camus wrote. American civil rights workers read Camus. His books were passed from one volunteer to the next in SNCC. Tom Hayden wrote that he considered Camus to be one of the great influences in his decision to leave journalism and become a student activist. Abbie Hoffman used Camus to explain in part the Yippie! movement, referring to Camus’s words in Notebooks: “The revolution as myth is the definitive revolution.”"

"There is a fundamental question which Camus never seems to have put to himself: by what right am I qualified to pass this sort of verdict on the world [the verdict that the world is absurd]? Of two things, one: either I myself do not belong to the world under discussion, but in that case have I not every reason to suppose that it is impenetrable to me and that I am not qualified to judge its value- or, on the other hand, I really am part of the world, and if the world is absurd, so am I absurd too. Camus, perhaps, might concede this. It is, however, a destructive concession. Again, of two things, one: either I am myself absurd in my ultimate nature- in which case so are my judgements absurd, they negate themselves, it cannot be conceded that they have any sort of validity- or, on the other hand, we have to admit that I have a double nature, that is there is a part of me which is not absurd and which can make valid judgements about absurdity: but how did this aspect of me which is not absurd get there? I cannot even admit the possibility of its existence without beginning to formulate a kind of dualism which, in some sense, splits my original assertion of the total absurdity of the universe apart."

"Some of the dissident young look abroad for models. They are attracted by the writing of the French novelist Albert Camus, who, in his conflict between his Algerian birth and his intellectual allegiance to France, expressed some of the conflict they feel; but he is dead."

"All revolutions in modern times, Camus points out, have led to a reinforcement of the power of the State. ... The counterrevolutions of fascism only serve to reinforce the general argument. Camus shows the real quality of his thought in his final pages. It would have been easy, on the facts marshaled in this book, to have retreated into despair or inaction. Camus substitutes the idea of "limits." "We now know, at the end of this long inquiry into rebellion and nihilism, that rebellion with no other limits but historical expediency signifies unlimited slavery. To escape this fate, the revolutionary mind, if it wants to remain alive, must therefore, return again to the sources of rebellion and draw its inspiration from the only system of thought which is faithful to its origins: thought that recognizes limits." To illustrate his meaning Camus refers to syndicalism, that movement in politics which is based on the organic unity of the cell, and which is the negation of abstract and bureaucratic centralism. He quotes Tolain: "Les etres humains ne s'emancipent qu'au sein des groupes naturels" — human beings emancipate themselves only on the basis of natural groups. "The commune against the State... deliberate freedom against rational tyranny, finally altruistic individualism against the colonization of the masses, are, then, the contradictions that express once again the endless opposition of moderation to excess which has animated the history of the Occident since the time of the ancient world." This tradition of "mesure" belongs to the Mediterranean world, and has been destroyed by the excesses of German ideology and of Christian otherworldliness — by the denial of nature. Restraint is not the contrary of revolt. Revolt carries with it the very idea of restraint, and "moderation, born of rebellion, can only live by rebellion. It is a perpetual conflict, continually created and mastered by the intelligence.... Whatever we may do, excess will always keep its place in the heart of man, in the place where solitude is found. We all carry within us our places of exile, our crimes and our ravages. But our task is not to unleash them on the world; it is to fight them in ourselves and in others."

"Although a few commentators have noted the influence of Simone Weil on the thought of Albert Camus, their relationship has never been fully explored ... I shall examine several aspects of that influence in ... Weil's critique of Marxism which Camus adopted in L'Homme Révolté... the conception of the rebel as an artisan which Camus also used in L'Homme Révolté, and ... Weil's mysticism, to which Camus was reluctantly though definitely drawn. ... I shall consider more fully the different conceptions of freedom and justice which appear in their writings and argue that their contributions to political thought here lay with their appreciation of the impulse in modern man to seek and impose absolute values. In this context, we shall see that Camus and Simone Weil provide different routes to individual authenticity and integrity in an absurd world."

"No less a considerable writer, Camus is a wonderful stylist, certainly an exemplary novelist in many respects. He certainly talks about resistance. But what bothers me is that he is read out of his own context, his own history. Camus's history is that of a colon, a pied noir. He was born and grew up in a place very close to a city in Algeria on the coast, Annaba in Arabic, Bone by the French. It was made over into a French town in the 1880s and 1890s. His family came variously from Corsica and various parts of southern Europe and France. His novels, in my opinion, are really expressions of the colonial predicament. Meursault, in L'Etranger (The Stranger), kills the Arab, to whom Camus gives no name and no history. The whole idea at the end of the novel where Meursault is put on trial is an ideological fiction. No Frenchman was ever put on trial for killing an Arab in colonial Algeria. That's a lie. So he constructs something. Second of all, in his later novel La Peste (The Plague), the people who die in the city are Arabs, but they're not mentioned. The only people who mattered to Camus and to the European reader of the time, and even now, are Europeans. Arabs are there to die. The story, interestingly enough, is always interpreted as a parable or an allegory of the German occupation of France. My reading of Camus, and certainly of his later stories, starts with the fact that he, in the late 1950s, was very much opposed to independence for Algeria. He in fact compared the FLN to Abdel Nasser in Egypt, after Suez, after 1956."

"I love Camus so much. I read and reread The Plague. I enjoy the Notebooks, though sometimes he seems so wary of women and love I feel he is too wise about life. He perhaps needed to know the blue coast was there, was possible, in order to go so deeply into that windy chill winter of the Algerian plague city— somehow I understood that “place”"

"I could see clearly that this problem could only be solved on the individual and personal level; political revolt is irrelevant. Both Camus and Sartre had been neatly hog-tied by their earlier radicalism. Camus came to see that rebellion is a political roundabout that revolves back to the same old tyranny; too ashamed to admit that he had outgrown his leftism, he found himself in an intellectual cul-de-sac. Sartre accused Camus of being a reactionary; but he paid for his own refusal to reexamine his political convictions by congealing into a grotesque attitude of permanent indignation, shaking his fist at some abstract Authority. Where politics is concerned, he seemed determined to be guided by his emotions."

"As a musician I tell you that if you were to suppress adultery, fanaticism, crime, evil, the supernatural, there would no longer be the means for writing one note."

"Ah, music! What a beautiful art! But what a wretched profession!"

"We should admit rather that power produces knowledge (and not simply by encouraging it because it serves power or by applying it because it is useful); that power and knowledge directly imply one another."

"[T]ruly to escape Hegel involves an exact appreciation of the price we have to pay to detach ourselves from him. It assumes that we are aware of the extent to which Hegel, insidiously perhaps, is close to us; it implies a knowledge, in that which permits us to think against Hegel, of that which remains Hegelian. We have to determine the extent to which our anti-Hegelianism is possibly one of his tricks directed against us, at the end of which he stands, motionless, waiting for us."

"Do not ask who I am and do not ask me to remain the same: leave it to our bureaucrats and our police to see that our papers are in order. At least spare us their morality when we write."

"Marxism exists in nineteenth-century thought as a fish exists in water; that is, it ceases to breathe anywhere else."

"Quand j’étudie les mécanismes de pouvoir, j’essaie d’étudier leur spécificité… Je n’admets ni la notion de maîtrise ni l’universalité de la loi. Au contraire, je m’attache à saisir des mécanismes d’exercise effectif de pouvoir ; et je le fais parce que ceux qui sont insérés dans ces relations de pouvoir, qui y sont impliqués peuvent, dans leurs actions, dans leur résistance et leur rébellion, leur échapper, les transformer, bref, ne plus être soumis. Et si je ne dis pas ce qu’il faut faire, ce n’est pas parce que je crois qu’il n’y a rien à faire. Bien au contraire, je pense qu’il y a mille choses à faire, à inventer, à forger par ceux qui, reconnaissant les relations de pouvoir dans lesquelles ils sont impliqués, ont décidé de leur résister ou de leur échapper. De ce point de vue, toute ma recherche repose sur un postulat d’optimisme absolu. Je n’effectue pas mes analyses pour dire : voilà comment sont les choses, vous êtes piégés. Je ne dis ces choses que dans la mesure où je considère que cela permet de les transformer. Tout ce que je fais, je le fais pour que cela serve."

"Sometimes, because my position has not been made clear enough, people think I'm a sort of radical anarchist who has an absolute hatred of power. No! What I am trying to do is to approach this extremely important and tangled phenomenon in our society, the exercise of power, with the most reflective, and I would say prudent attitude. Prudent in my analysis, in the moral and theoretical postulates I use: I try to figure out what's at stake. But to question the relations of power in the most scrupulous and attentive manner possible, looking into all the domains of its exercise, that's not the same thing as constructing a mythology of power as the beast of the apocalypse."

"The problem is not to discover in oneself the truth of one's sex, but, rather, to use one's sexuality henceforth to arrive at a multiplicity of relationships. And, no doubt, homosexuality is not a form of desire but something desirable. Therefore, we have to work at becoming homosexuals."

"I don't feel that it is necessary to know exactly what I am. The main interest in life and work is to become someone else that you were not in the beginning. If you knew when you began a book what you would say at the end, do you think that you would have the courage to write it? What is true for writing and for a love relationship is true also for life. The game is worthwhile insofar as we don't know what will be the end. My field is the history of thought. Man is a thinking being."

"I'm very proud that some people think that I'm a danger for the intellectual health of students. When people start thinking of health in intellectual activities, I think there is something wrong. In their opinion I am a dangerous man, since I am a crypto-Marxist, an irrationalist, a nihilist."

"When I was a student in the 1950s, I read Husserl, Sartre, Merleau-Ponty. When you feel an overwhelming influence, you try to open a window. Paradoxically enough, Heidegger is not very difficult for a Frenchman to understand. When every word is an enigma, you are in a not-too-bad position to understand Heidegger. Being and Time is difficult, but the more recent works are clearer. Nietzsche was a revelation to me. I felt that there was someone quite different from what I had been taught. I read him with a great passion and broke with my life, left my job in the asylum, left France: I had the feeling I had been trapped. Through Nietzsche, I had become a stranger to all that."

"Qui définit le moment où j'écris?"

"Well, if identity is only a game, if it is only a procedure to have relations, social and sexual-pleasure relationships that create new friendships, it is useful. But if identity becomes the problem of sexual existence, and if people think that they have to "uncover" their "own identity," and that their own identity has to become the law, the principle, the code of their existence; if the perennial question they ask is "Does this thing conform to my identity?" then, I think, they will turn back to a kind of ethics very close to the old heterosexual virility. If we are asked to relate to the question of identity, it must be an identity to our unique selves. But the relationships we have to have with ourselves are not ones of identity, rather, they must be relationships of differentiation, of creation, of innovation. To be the same is really boring. We must not exclude identity if people find their pleasure through this identity, but we must not think of this identity as an ethical universal rule."

"One can say that the author is an ideological product, since we represent him as the opposite of his historically real function. (When a historically given function is represented in a figure that inverts it, one has an ideological production.) The author is therefore the ideological figure by which one marks the manner in which we fear the proliferation of meaning."

"There are more ideas on earth than intellectuals imagine. And these ideas are more active, stronger, more resistant, more passionate than "politicians" think. We have to be there at the birth of ideas, the bursting outward of their force: not in books expressing them, but in events manifesting this force, in struggles carried on around ideas, for or against them. Ideas do not rule the world. But it is because the world has ideas (and because it constantly produces them) that it is not passively ruled by those who are its leaders or those who would like to teach it, once and for all, what it must think."

"There is object proof that homosexuality is more interesting than heterosexuality. It's that one knows a considerable number of heterosexuals who would wish to become homosexuals, whereas one knows very few homosexuals who would really like to become heterosexuals."

"What all these people are doing is not aggressive; they are inventing new possibilities of pleasure with strange parts of their body — through the eroticization of the body. I think it's ... a creative enterprise, which has as one of its main features what I call the desexualization of pleasure."

"There has been an inversion in the hierarchy of the two principles of antiquity, “Take care of yourself” and “Know yourself.” In Greco-Roman culture, knowledge of oneself appeared as the consequence of the care of the self. In the modern world, knowledge of oneself constitutes the fundamental principle."

"A critique is not a matter of saying that things are not right as they are. It is a matter of pointing out on what kinds of assumptions, what kinds of familiar, unchallenged, unconsidered modes of thought the practices that we accept rest."

"My point is not that everything is bad, but that everything is danger­ous, which is not exactly the same as bad. If everything is dangerous, then we always have something to do. So my position leads not to apa­thy but to a hyper- and pessimistic activism. I think that the ethico-political choice we have to make every day is to determine which is the main danger."

"Je crois que le pouvoir politique s’exerce encore, s’exerce en outre, de plus, par l’intermédiaire d’un certain nombre d’institutions qui ont l’air comme ça de n’avoir rien de commun avec le pouvoir politique, qui ont l’air d’en être indépendantes et qui ne le sont pas."

"Il me semble que la tache politique actuelle dans une société comme la notre c’est de critiquer le jeu des institutions apparemment les plus neutres et les plus indépendantes, de les critiquer et les attaquer de telle manière que la violence politique qui s’exerçait obscurément en elles (les institutions) surgissent et qu’on puisse lutter contre elles."

"The gesture that divides madness is the constitutive one, not the science that grows up in the calm that returns after the division has been made."

"The constitution of madness as mental illness, at the end of the eighteenth century, bears witness to a rupture in a dialogue, gives the separation as already enacted, and expels from the memory all those imperfect words, of no fixed syntax, spoken falteringly, in which the exchange between madness and reason was carried out. The language of psychiatry, which is a monologue by reason about madness, could only have come into existence in such a silence."

"But what then is this confrontation below the language of reason? Where might this interrogation lead, following not reason in its horizontal becoming, but seeking to retrace in time this constant verticality, which, the length of Western culture, confronts it with what it is not, measuring it with its own extravagance?"

"In the history of madness, two events signal this change with singular clarity: in 1657, the founding of the Hôpital Général, and the Great Confinement of the poor; and in 1794, the liberation of the mad in chains at Bicêtre. Between these two singular and symmetrical events, something happened, whose ambiguity has perplexed historians of medicine: blind repression in an absolutist regime, according to some, and, according to others, the progressive discovery, by science and philanthropy, of madness in its positive truth. In fact, beneath these reversible meanings, a structure was taking shape, which did not undo that ambiguity but was decisive for it. This structure explains the passage from the medieval and humanist experience of madness to the experience that is our own, which confines madness in mental illness."

"At the end of the Middle Ages, leprosy disappeared from the Western world. In the margins of the community, at the gates of cities, there stretched wastelands which sickness had ceased to haunt but had left sterile and long uninhabitable. For centuries, these reaches would belong to the non-human. From the fourteenth to the seventeenth century, they would wait, soliciting with strange incantations a new incarnation of disease, another grimace of terror, renewed rites of purification and exclusion."

"Navigation brought man face to face with the uncertainty of destiny, where each is left to himself and every departure might always be the last. The madman on his crazy boat sets sail for the other world, and it is from the other world that he comes when he disembarks. This enforced navigation is both rigorous division and absolute Passage, serving to underline in real and imaginary terms the liminal situation of the mad in medieval society. It was a highly symbolic role, made clear by the mental geography involved, where the madman was confined at the gates of the cities. His exclusion was his confinement, and if he had no prison other than the threshold itself he was still detained at this place of passage. In a highly symbolic position he is placed on the inside of the outside, or vice versa. A posture that is still his today, if we admit that what was once the visible fortress of social order is now the castle of our own consciousness."

"Water and navigation had that role to play. Locked in the ship from which he could not escape, the madman was handed over to the thousand-armed river, to the sea where all paths cross, and the great uncertainty that surrounds all things. A prisoner in the midst of the ultimate freedom, on the most open road of all, chained solidly to the infinite crossroads. He is the Passenger par excellence, the prisoner of the passage. It is not known where he will land, and when he lands, he knows not whence he came. His truth and his home are the barren wasteland between two lands that can never be his own. [...] One thing is certain: the link between water and madness is deeply rooted in the dream of the Western man."

"From the knowledge of that fatal necessity that reduces man to dust we pass to a contemptuous contemplation of the nothingness that is life itself. The fear before the absolute limit of death becomes interiorised in a continual process of ironisation. Fear was disarmed in advance, made derisory by being tamed and rendered banal, and constantly paraded in the spectacle of life. Suddenly, it was there to be discerned in the mannerisms, failings and vices of normal people. Death as the destruction of all things no longer had meaning when life was revealed to be a fatuous sequence of empty words, the hollow jingle of a jester's cap and bells. The death's head showed itself to be a vessel already empty, for madness was the being-already-there of death. Death's conquered presence, sketched out in these everyday signs, showed not only that its reign had already begun, but also that its prize was a meagre one. Death unmasked the mask of life, and nothing more: to show the skull beneath the skin it had no need to remove beauty or truth, but merely to remove the plaster or the tawdry clothes. The carnival mask and the cadaver share the same fixed smile. But the laugh of madness is an anticipation of the rictus grin of death, and the fool, that harbinger of the macabre, draws death's sting."

"Meaning created links so numerous, so rich and involved that only esoteric knowledge could possibly have the necessary key. Objects became so weighed down with attributes, connections and associations that they lost their own original face. Meaning was no longer read in an immediate perception, and accordingly objects ceased to speak directly: between the knowledge that animated the figures of objects and the forms they were transformed into, a divide began to appear, opening the way for a symbolism more often associated with the world of dreams."

"In its most general form, confinement was explained, or at least justified, by a will to avoid scandal. It thereby signalled an important change in the consciousness of evil. The Renaissance had let unreason in all its forms come out into the light of day, as public exposure gave evil the chance to redeem itself and to serve as an exemplum."

"There is little in common between the organised parading of madness in the eighteenth century and the freedom with which madness came to the fore during the Renaissance. The earlier age had found it everywhere, an integral element of each experience, both in images and in real life dangers. During the classical period, it was also on public view, but behind bars. When it manifested itself it was at a carefully controlled distance, under the watchful eye of a reason that denied all kinship with it, and felt quite unthreatened by any hint of resemblance. Madness had become a thing to be observed, no longer the monster within, but an animal moved by strange mechanisms, more beast than man, where all humanity had long since disappeared."

"If our intention now is to reveal classical unreason on its own terms, outside of its ties with dreams and error, it must be understood not as a form of reason that is somehow diseased, lost or mad, but quite simply as reason dazzled."

"To say that madness is dazzlement is to say that the madman sees the day, the same day that rational men see, as both live in the same light, but that when looking at that very light, nothing else and nothing in it, he sees it as nothing but emptiness, night and nothingness. Darkness for him is another way of seeing the day. Which means that in looking at the night and the nothingness of the night, he does not see at all. And that in the belief that he sees, he allows the fantasies of his imagination and the people of his nights to come to him as realities. For that reason, delirium and dazzlement exist in a relation that is the essence of madness, just as truth and clarity, in their fundamental relation, are constitutive of classical reason. In that sense, the Cartesian progression of doubt is clearly the great exorcism of madness. Descartes closes his eyes and ears the better to see the true light of the essential day, thereby ensuring that he will not suffer the dazzlement of the mad, who open their eyes and only see night, and not seeing at all, believe that they see things when they imagine them. In the uniform clarity of his closed senses, Descartes has broken with all possible fascination, and if he sees, he knows he really sees what he is seeing. Whereas in the madman's gaze, drunk on the light that is night, images rise up and multiply, beyond any possible self-criticism, since the madman sees them, but irremediably separated from being, since the madman sees nothing. Unreason is to reason as dazzlement is to daylight."

"The circle of day and night is the law of the classical world: the most restricted but most demanding of the necessities of the world, the most inevitable but the simplest of the legislations of nature. This was a law that excluded all dialectics and all reconciliation, consequently laying the foundations for the smooth unity of knowledge as well as the uncompromising division of tragic existence. It reigns on a world without darkness, which knows neither effusiveness nor the gentle charms of lyricism. All is waking or dreams, truth or error, the light of being or the nothingness of shadow."

"It is understandable then that tragic heroes, unlike the baroque characters who had preceded them, could never be mad, and that inversely madness could never take on the tragic value we have known since Nietzsche and Artaud. In the classical epoch, tragic characters and the mad face each other without any possible dialogue or common language, for the one can only pronounce the decisive language of being, where the truth of light and the depths of night meet in a flash, and the other repeats endlessly an indifferent murmur where the empty chatter of the day is cancelled out by the deceptive lies of the shadows."

"This is the moment when it becomes clear that the images of madness are nothing but dream and error, and that if the unfortunate sufferer who is blinded by them invokes them, it is the better to disappear with them into the annihilation for which they are destined."

"In the tragedies of the early seventeenth century, madness too provided the dénouement, but it did so in liberating the truth. It still opened onto language, to a renewed form of speech, that of explanation and of the real regained. The most it could ever be was the penultimate moment of tragedy. Not the closing moment, as in Andromaque, where no truth appears, other than, in Delirium, the truth of a passion that finds its fullest, most perfect expression in madness."

"To sum up all these steps, each of which is very lengthy and complex, we will have put the game of truth back in the network of constraints and dominations. Truth, I should say rather, the system of truth and falsity, will have revealed the face it turned away from us for so long and which is that of its violence."

"There is hardly a philosophy which has not invoked something like the will or desire to know, the love of truth, etcetera. But, in truth, very few philosophers—apart, perhaps, from Spinoza and Schopenhauer—have accorded it more than a marginal status; as if there was no need for philosophy to say first of all what the name that it bears actually refers to. As if placing at the head of its discourse the desire to know, which it repeats in its name, was enough to justify its own existence and show—at a stroke—that it is necessary and natural: All men desire to know. Who, then, is not a philosopher, and how could philosophy not be the most necessary thing in the world?"

"Nietzsche was the first to release the desire to know from the sovereignty of knowledge itself: to re-establish the distance and exteriority that Aristotle cancelled."

"In France at least, the history of science and thought gives pride of place sciences, sciences of the necessary, all close to philosophy: one can observe in their history the almost uninterrupted emergence of truth and pure reason. The other disciplines, however - those, for example, that concern living beings, languages, or economic facts - are considered too tinged with empirical thought, too exposed to the vagaries of chance or imagery to age old traditions and external events, for it to be supposed that their history could be anything other irregular. At most, they are expected to provide evidence of a state of mind, an intellectual fashion, a mixture of archaism and bold conjecture, of intuition and blindness. But what if empirical knowledge, at a given time and in a given culture, did possess a well defined regularity."

"Absurdity destroys the and of the enumeration by making impossible the in where the things enumerated would be divided up."

"Between the fine point of the brush and the steely gaze, the scene is about to yield up its volume."

"The painter is turning his eyes towards us only in so far as we happen to occupy the same position as his subject. We, the spectators, are an additional factor. Though greeted by that gaze, we are also dismissed by it, replaced by that which was always there before we were: the model itself. But, inversely, the painter's gaze, addressed to the void confronting him outside the picture, accepts as many models as there are spectators; in this precise but neutral place, the observer and the observed take part in a ceaseless exchange."

"We are observing ourselves being observed by the painter, and made visible to his eyes by the same light that enables us to see him. And just as we are about to apprehend ourselves, transcribed by his hand as though in a mirror, we find that we can in fact apprehend nothing of that mirror but its lusterless back. The other side of a psyche."

"[L]'âme, prison du corps."

"Is it surprising that prisons resemble factories, schools, barracks, hospitals, which all resemble prisons?"

"It is ugly to be punishable, but there is no glory in punishing. Hence the double system of protection that justice has set up between itself and the punishment it imposes."

"The guillotine takes life almost without touching the body, just as prison deprives of liberty or a fine reduces wealth. It is intended to apply the law not so to a real body capable of feeling pain as to a juridical subject, the possessor, among other rights, of the right to exist it had to have the abstraction of the law itself."

"It was an important moment. The old partners of the spectacle of punishment, the body and the blood, gave way. A new character came of the scene, masked. It was the end of a certain kind of tragedy; comedy began, with shadow play, faceless voices, impalpable entities. The apparatus of punitive justice must now bite into this bodiless reality."

"Instead of insanity eliminating the crime according to the original meaning of article 64,every crime and even every offense now carries within it, as a legitimate suspicion, but also as a right that may be claimed, the hypothesis of insanity, in any case of anomaly. And the sentence that condemns or acquits is not simply a judgement of guily, a legal decision that lays down punishment; it bears within it an assessment of normality and a technical prescription for a possible normalization Today the judge- magistrate or juror0 certainly does more than 'judge'"

"The disappearance of public executions marks therefore the decline of the spectacle; but it also marks a slackening of the hold on the body."

"A utopia of judicial reticence: take away life, but prevent the patient from feeling it; deprive the prisoner of all rights, but do not inflict pain; impose penalties free of all pain. Recourse to psycho-pharmacology and to various physiological ‘disconnectors’, even if it is temporary, is a logical consequence of this ‘non-corporal’ penalty."

"This book is intended as a correlative history of the modern soul and of a new power to judge; a genealogy of the present scientifico-legal complex from which the power to punish derives its bases, justifications and rules, from which it extends its effects and by which it extends its effects and by which it masks its exorbitant singularity."

"The different pieces of evidence did not constitute so many neutral elements, until such time as they could be gathered together into a single body of evidence that would bring the final certainty of guilt. Each piece of evidence aroused a particular degree of abomination. Guilt did not begin when all the evidence was gathered together; piece by piece, it was constituted by each of the elements that made it possible to recognize a guilty person. Thus a semi-proof did not leave the suspect innocent until such time as it was completed; it made him semi-guilty; slight evidence of a serious crime marked someone as slightly criminal. In short, penal demonstration did not obey a dualistic system: true or false; but a principle of continuous gradation; a degree reached in the demonstration already formed a degree of guilt and consequently involved a degree of punishment."

"The public execution is to be understood not only as a judicial, but also as a political ritual. It belongs, even in minor cases, to the ceremonies by which power is manifested."

"We must first rid ourselves of the illusion that penality is above all (if not exclusively) a means of reducing crime and that, in this role, according to the social forms, the political systems or beliefs, it may be severe or lenient, tend towards expiation of obtaining redress, towards the pursuit of individuals or the attribution of collective responsibility. We must analyse rather the ‘concrete systems of punishment’, study them as social phenomena that cannot be accounted for by the juridical structure of society alone, nor by its fundamental ethical choices; we must situate them in their field of operation, in which the punishment of crime is not the sole element; we must show that punitive measures are not simply ‘negative’ mechanisms that make it possible to repress, to prevent, to exclude, to eliminate; but that they are linked to a whole series of positive and useful effects which it is their task to support (and, in this sense,although legal punishment is carried out in order to punish offences, one might say that the definition of offences and their prosecution are carried out in turn in order to maintain the punitive mechanisms and their functions)."

"The public execution, then, has a juridico-political function. It is a ceremonial by which a momentarily injured sovereignty is reconstituted. It restores that sovereignty by manifesting it at its most spectacular. The public execution, however hasty and everyday, belongs to a whole series of great rituals in which power is eclipsed and restored (coronation, entry of the king into a conquered city, the submission of rebellious subjects); over and above the crime that has placed the sovereign in contempt, it deploys before all eyes an invincible force. Its aim is not so much to re-establish a balance as to bring into play, as its extreme point, the dissymmetry between the subject who has dared to violate the law and the all-powerful sovereign who displays his strength."

"There can be no doubt that the existence of public tortures and executions were connected with something quite other than this internal organization. Rusche and Kirchheimer are right to see it as the effect of a system of production in which labour power, and therefore the human body, has neither the utility nor the commercial value that are conferred on them in an economy of an industrial type. Moreover, this ‘contempt’ for the body is certainly related to a general attitude to death; and, in such an attitude, one can detect not only the values proper to Christianity, but a demographical, in a sense biological, situation: the ravages of disease and hunger, the periodic massacres of the epidemics, the formidable child mortality rate, the precariousness of the bio-economic balances – all this made death familiar and gave rise to rituals intended to integrate it, to make it acceptable and to give a meaning to its permanent aggression. But in analysing why the public executions survived for so long, one must also refer to the historical conjuncture; it must not be forgotten that the ordinance of 1670 that regulated criminal justice almost up to the Revolution had even increased in certain respects the rigour of the old edicts; Pussort, who, among the commissioners entrusted with the task of drawing up the documents, represented the intentions of the king, was responsible for this, despite the views of such magistrates as Lamoignon; the number of uprisings at the very height of the classical age, the rumbling close at hand of civil war, the king's desire to assert his power at the expense of the parlements go a long way to explain the survival of so severe a penal system."

"If torture was so strongly embedded in legal practice, it was because it revealed truth and showed the operation of power. It assured the articulation of the written on the oral, the secret on the public, the procedure of investigation on the operation of the confession; it made it possible to reproduce the crime on the visible body of the criminal."

"In the ceremonies of the public execution, the main character was the people, whose real and immediate presence was required for the performance."

"Not only must people know, they must see with their own eyes. Because they must be made to be afraid; but also because they must be the witnesses, the guarantors, of the punishment, and because they must to a certain extent take part in it."

"The condemned man found himself transformed into a hero by the sheer extend of his widely advertised crimes, and sometimes the affirmation of his belated repentance. Against the law, against the rich, the powerful, the magistrates, the constabulary or the watch, against taxes and their collectors, he appeared to have waged a struggle with which one all too easily identified. The proclamation of these crimes blew up to epic proportions the tiny struggle that passed unperceived in everyday life. If the condemned man was shown to be repentant, accepting the verdict, asking both God and man for forgiveness for his crimes, it was as if he had come through some process of purification: he died, in his own way, like a saint."

"The criticism of the reformers was directed not so much at the weakness or cruelty of those in authority, as at a bad economy of power."

"This dysfunction of power was related to a central excess: what might be called the monarchical 'super-power', which identified the right to punish with the personal power of the sovereign."

"It proved necessary, therefore, to control these illicit practices and introduce new legislation to cover them. The offenses had to be properly defined and more surely punished; out of this mass of irregularities, sometimes tolerated and sometimes punished with a severity out of all proportion to the offense, one had to determine what was an intolerable offense, and the offenders had to be apprehended and punished. With the new forms of capital accumulation, new relations of production and the new legal status of property, all the popular practices that belonged, either in a silent, everyday, tolerated form, or in a violent form, to the illegality of rights were reduced by force to an illegality of property. In that movement which transformed a society of juridico-political levies into a society of the appropriation of the means and products of labour, theft tended to become the first of the great loopholes in legality. Or, to put it another way, the economy of illegalities was restructured with the development of capitalist society. The illegality of property was separated from the illegality of rights. This distinction represents a class opposition because, on the one hand, the illegality that was to be most accessible to the lower classes was that of property – the violent transfer of ownership – and because, on the other, the bourgeoisie was to reserve to itself the illegality of rights: the possibility of getting round its own regulations and its own laws, of ensuring for itself an immense sector of economic circulation by a skillful manipulation of gaps in the law – gaps that were foreseen by its silences, or opened up by de facto tolerance. And this great redistribution of illegalities was even to be expressed through a specialization of the legal circuits: for illegalities of property – for theft – there were the ordinary courts and punishments; for the illegalities of rights – fraud, tax evasion, irregular commercial operations – special legal institutions applied with transactions, accommodations, reduced fines, etc. The bourgeoisie reserved to itself the fruitful domain of the illegality of rights. And at the same time as this split was taking place, there emerged the need for a constant policing concerned essentially with this illegality of property. It became necessary to get rid of the old economy of the power to punish, based on the principles of the confused and inadequate multiplicity of authorities, the distribution and concentration of the power correlative with actual inertia and inevitable tolerance, punishments that were spectacular in their manifestations and haphazard in their application. It became necessary to define a strategy and techniques of punishment in which an economy of continuity and permanence would replace that of expenditure and excess. In short, penal reform was born at the point of junction between the struggle against the super-power of the sovereign and that against the infra-power of acquired and tolerated illegalities."

"Beneath the humanization of the penalties, what one finds are all those rules that authorize, or rather demand, 'leniency', as a calculated economy of the powder to punish. But they also provoke a shift in the point of application of this power: it is no longer the body, with the ritual play of excessive pains, spectacular branding in the ritual of the public execution; it is the mind or rather a play of representations and sings circulating discreetly but necessarily and evidently in the minds of all. It is no longer the body, but the soul, said Mably. And we see very clearly what he meant by this term: the correlative of a technique of power. Old 'anatomies' of punishment are abandoned, But have we really entered the age of non-corporal punishment?"

"In the old system, the body of the condemned man became the king's property, on which the sovereign left his mark and brought down the effects of his power. Now he will be rather the property of society, the object of a collective and useful appropriation."

"This legible lesson, this ritual recording, must be repeated as often as possible; the punishments must be a school rather than a festival; an ever-open book rather than a ceremony. The duration that makes the punishment effective for the guilty is also useful for the spectators. They must be able to consult at each moment the permanent lexicon of crime and punishment. A secret punishment is a punishment half wasted. Children should be allowed to come to the places where the penalty is being carried out; there they will attend their classes in civics. And grown men will periodically relearn the laws. Let us conceive of places of punishment as a Garden of the Laws that families would visit on Sundays."

"This, then, is how one must imagine the punitive city. At the crossroads, in the gardens, at the side of roads being repaired or bridges built, in workshops open to all, in the depths of mines that may be visited, will be hundreds of tiny theatres of punishment. Each crime will have its law; each criminal his punishment. It will be a visible punishment, a punishment that tells all, that explains, justifies itself, convicts: placards, different-coloured caps bearing inscriptions, posters, symbols, texts read or printed, tirelessly repeat the code. Scenery, perspectives, optical effects, trompe-l'œil sometimes magnify the scene, making it more fearful than it is, but also clearer. From where the public is sitting, it is possible to believe in the existence of certain cruelties which, in fact, do not take place. But the essential point, in all these real or magnified severities, is that they should all, according to a strict economy, teach a lesson: that each punishment should be a fable. And that, in counterpoint with all the direct examples of virtue, one may at each moment encounter, as a living spectacle, the misfortunes of vice. Around each of these moral ‘representations’, schoolchildren will gather with their masters and adults will learn what lessons to teach their offspring. The great terrifying ritual of the public execution gives way, day after day, street after street, to this serious theatre, with its multifarious and persuasive scenes. And popular memory will reproduce in rumour the austere discourse of the law. But perhaps it will be necessary, above these innumerable spectacles and narratives, to place the major sign of punishment for the most terrible of crimes: the keystone of the penal edifice."

"Above the punitive city hangs this iron spider; and the criminal who is to be thus crucified by the new law is parricide."

"A great prison structure was planned, whose different levels would correspond exactly to the levels of the centralized administration. The scaffold, where the body of the tortured criminal had been exposed to the ritually manifested force of the sovereign, the punitive theatre in which the representation of punishment was permanently available to the social body, was replaced by a great enclosed, complex and hierarchized structure that was integrated into the very body of the state apparatus."

"The chief function of the disciplinary power is to 'train', rather than to select and to levy; or, no doubt, to train in order to levy and select all the more. It does not link forces together in order to reduce them; it seeks to bind them together in such a way as to multiply and use them"

"The perfect disciplinary apparatus would make it possible for a single haze to see everything constantly. A central point would be both the source of light illuminating everything, and a locus of convergence for everything that must be known: a perfect eye that nothing would escape and a centre towards which all gazes would be turned."

"We are aware of all the inconveniences of prison, and that it is dangerous when it is not useless. And yet one cannot 'see' how to replace it. It is the detestable solution, which one seems unable to do without."

"A real subjection is born mechanically from a fictitious relation. So it is not necessary to use force to constrain the convict to good behavior, the madman to calm, the worker to work, the schoolboy to application, the patient to the observation of the regulations"

"Generally speaking, all the authorities exercising individual control function according to a double mode; that of binary division and branding (mad/sane; dangerous/harmless; normal/abnormal); and that of coercive assignment, of differential distribution (who he is; where he must be; how he is to be characterized' how he is to be recognized' how a constant surveillance is to be exercised over him in a individual way, etc.)."

"The 'Enlightenment', which discovered the liberties, also invented the disciplines."

"There is no power relation without the correlative constitution of a field of knowledge, nor any knowledge that does not presuppose and constitute at the same time power relations"

"But let there be no misunderstanding: it is not that a real man, the object of knowledge, philosophical reflection or technological intervention, has been substituted for the soul, the illusion of theologians. The man described for us, whom we are invited to free, is already in himself the effect of a subjection more profound than himself. A 'soul' inhabits him and brings him to existence, which is itself a factor in the mastery that power exercises over the body. The soul is the effect and instrument of a political anatomy; the soul is the prison of the body."

"But a punishment like forced labour or even imprisonment – mere loss of liberty – has never functioned without a certain additional element of punishment that certainly concerns the body itself: rationing of food, sexual deprivation, corporal punishment, solitary confinement ... There remains, therefore, a trace of ‘torture’ in the modern mechanisms of criminal justice – a trace that has not been entirely overcome, but which is enveloped, increasingly, by the non-corporal nature of the penal system"

"The man described for us, whom we are invited to free, is already in himself the effect of a subjection much more profound than himself. A 'soul' inhabits him and brings him to existence...the soul is the effect and instrument of political anatomy; the soul is the prison of the body."

"The judges of normality are present everywhere. We are in the society of the teacher-judge, the doctor-judge, the educator-judge, the social worker-judge; it is on them that the universal reign of the normative is based; and each individual, wherever he may find himself, subjects to it his body, his gestures, his behavior, his aptitudes, his achievements."

"Discipline 'makes' individuals; it is the specific technique of a power that regards individuals both as objects and as instruments of its exercise. It is not a triumphant power...it is a modest, suspicious power, which functions as a calculated, but permanent economy."

"He who is subjected to a field of visibility, and who knows it, assumes responsibility for the constraints of power; he makes them play spontaneously upon himself; he inscribes in himself the power relation in which he simultaneously plays both roles; he becomes the principle of his own subjection."

"In the darkest region of the political field the condemned man represents the symmetrical, inverted figure of the king."

"Exercise is the technique by which one imposes on the body tasks that are both repetitive and different, but always graduated. By bending behavior towards a terminal state, exercise makes possible a perpetual characterization of the individual...It thus assures, in the form of continuity and constraint, a growth, an observation, a qualification."

"Today, criminal justice functions and justifies itself only by this perpetual reference to something other than itself, by this unceasing reinscription in non-juridical systems."

"Homosexuality appears as one of the forms of sexuality when it was transposed from the practice of sodomy onto a kind of interior androgyny, a hermaphroditism of the soul. The sodomite had been a temporary aberration; the homosexual was now a species."

"The most defenseless tenderness and the bloodiest of powers have a similar need of confession. Western man has become a confessing animal."

"Confession frees, but power reduces one to silence; truth does not belong to the order of power, but shares an original affinity with freedom: traditional themes in philosophy, which a political history of truth would have to overturn by showing that truth is not by nature free--nor error servile--but that its production is thoroughly imbued with relations of power. The confession is an example of this."

"L’important, c’est que le sexe n’ait pas été seulement affaire de sensation et de plaisir, de loi ou d’interdiction, mais aussi de vrai et de faux."

"The appearance in nineteenth-century psychiatry, jurisprudence, and literature of a whole series of discourses on the species and subspecies of homosexuality, inversion, pederasty, and "psychic hermaphroditism" made possible a strong advance of social controls into this area of "perversity"; but it also made possible the formation of a "reverse" discourse: homosexuality began to speak in its own behalf, to demand that its legitimacy or "naturality" be acknowledged, often in the same vocabulary, using the same categories by which it was medically disqualified."

"Les discours sont des éléments ou des blocs tactiques dans le champ des rapports de force; il peut y en avoir de différents et même de contradictoires à l'intérieur d'une même stratégie; ils peuvent au contraire circuler sans changer de forme entre des stratégies opposées."

"Par pouvoir… je n’entends pas un système général de domination exercée par un élément ou un groupe sur un autre, et dont les effets, par dérivations successives, traversaient le corps social tout entier… il me semble qu’il faut comprendre d’abord la multiplicité de rapports de force qui sont immanents au domaine où ils s’exercent, et sont constitutifs de leur organisation ; le jeu qui par voie de luttes et d’affrontements incessants les transforme, les renforce, les inverse ; les appuis que ces rapports de force trouvent les uns dans les autres, de manière à former chaîne ou système, ou, au contraire, les décalages, les contradictions qui les isolent les uns des autres ; les stratégies enfin dans lesquelles ils prennent effet, et dont le dessin général ou la cristallisation institutionnelle prennent corps dans les appareils étatiques, dans la formulation de la loi, dans les hégémonies sociales. La condition de possibilité du pouvoir… il ne fait pas la chercher dans l’existence première d’un point central, dans un foyer unique de souveraineté d’où rayonneraient des formes dérivées et descendantes ; induisent sans cesse, par leur inégalité, des états de pouvoir, mais toujours locaux et instables. Omniprésence du pouvoir : non point parce qu’il aurait le privilège de tout regrouper sous son invincible unité, mais parce qu’il se produit à chaque instant, en tout point, ou plutôt dans toute relation d’un point à un autre. Le pouvoir est partout ; ce n’est pas qu’il englobe tout, c’est qu’il vient de partout."

"Il y a des moments dans la vie où la question de savoir si on peut penser autrement qu’on ne pense et percevoir autrement qu’on ne voit est indispensable pour continuer à regarder ou à réfléchir… Qu’est-ce donc que la philosophie aujourd’hui… si elle ne consiste pas, au lieu de légitimer ce qu’on sait déjà, à entreprendre de savoir comment et jusqu’où il serait possible de penser autrement ?… L’ « essai »—qu’il faut entendre comme épreuve modificatrice de soi-même dans le jeu de la vérité et non comme appropriation simplificatrice d’autrui à des fins de communication—est le corps vivant de la philosophie, si du moins celle-ci est encore maintenant ce qu’elle était autrefois, c’est-à-dire une « ascèse », un exercice de soi, dans la pensée."

"The critical ontology of ourselves has to be considered not, certainly, as a theory, a doctrine, nor even as a permanent body of knowledge that is accumulating; it has to be conceived as an attitude, an ethos, a philosophical life in which the critique of what we are is at one and the same time the historical analysis of the limits that are imposed on us and an experiment with the possibility of going beyond them."

"The question here is the same as the question I addressed with regard to madness, disease, delinquency and sexuality. In all of these cases, it was not a question of showing how these objects were for a long time hidden before being finally discovered, nor of showing how all these objects are only wicked illusions or ideological products to be dispelled in the light of reason finally having reached its zenith. It was a matter of showing by what conjunctions a whole set of practices—from the moment they become coordinated with a regime of truth—was able to make what does not exist (madness, disease, delinquency, sexuality, etcetera), nonetheless become something."

"Recalling all the erroneous things that doctors have been able to say about sex or madness does us a fat lot of good. I think that what is currently politically important is to determine the regime of verediction established at a given moment ... on the basis of which you can now recognize, for example, that doctors in the nineteenth century said so many stupid things about sex. ... It is not so much the history of the true or the history of the false as the history of verediction which has a political significance."

"The new governmental reason does not deal with what I would call the things in themselves of governmentality, such as individuals, things, wealth, and land. It no longer deals with these things in themselves. It deals with the phenomena of politics, that is to say, interests, which precisely constitute politics and its stakes; it deals with interests, or that respect in which a given individual, thing, wealth, and so on interests other individuals or the collective body of individuals. ... In the new regime, government is basically no longer to be exercised over subjects and other things subjected through these subjects. Government is now to be exercised over what we could call the phenomenal republic of interests. The fundamental question of liberalism is: What is the utility value of government and all actions of government in a society where exchange determines the value of things?"

"The pastorate was formed against a sort of intoxication of religious behavior, examples of which are found throughout the Middle East in the second, third, and fourth centuries, and to which certain Gnostic sects in particular bear striking and indisputable testimony. In at least some of these Gnostic sects, in fact, the identification of matter with evil, and as absolute evil, obviously entailed certain consequences. This might be, for example, a kind of vertigo or enchantment provoked by a sort of unlimited asceticism that could lead to suicide: freeing oneself from matter as quickly as possible. There is also the idea, the theme, of destroying matter through the exhaustion of the evils it contains, of committing every possible sin, going to the very end of the domain of evil opened up by matter, and thus destroying matter. Let us sin, then, and sin to infinity. There is also the theme of the nullification of the world of the law, to destroy which one must first destroy the law, that is to say, break every law. One must respond to every law established by the world, or by the powers of the world, by violating it, systematically breaking the law and in effect, overthrowing the reign of the one who created the world."

"All these present struggles revolve around the question: Who are we? They are a refusal of these abstractions, of economic and ideological state violence, which ignore who we are individually, and also a refusal of a scientific or administrative inquisition which determines who one is."

"All those movements which took place in the fifteenth and sixteenth centuries and which had the Reformation as their main expression and result should be analyzed as a great crisis of the Western experience of subjectivity and a revolt against the kind of religious and moral power which gave form, during the Middle Ages, to this subjectivity. The need to take a direct part in spiritual life, in the work of salvation, in the truth which lies in the Book—all that was a struggle for a new subjectivity."

"Maybe the target nowadays is not to discover what we are but to refuse what we are."

"The political, ethical, social, philosophical problem of our day is not to try to liberate the individual from the state and from the state's institutions but to liberate us both from the state and from the type of individualization which is linked to the state. We have to promote new forms of subjectivity through the refusal of this kind of individuality which has been imposed on us for several centuries."

"I don't really know what they mean by "intellectuals," all the people who describe, denounce, or scold them. I do know, on the other hand, what I have committed myself to, as an intellectual, which is to say, after all, a cerebro-spinal individual: to having a brain as supple as possible and a spinal column that's as straight as necessary."

"My intention was not to deal with the problem of truth, but with the problem of the truth-teller, or of truth telling... [W]ho is able to tell the truth, about what, with what consequences, and with what relations to power. ...[W]ith the question of the importance of telling the truth, knowing who is able to tell the truth, and knowing why we should tell the truth, we have the roots of what we could call the 'critical' tradition in the West."

"Parrhesia is ordinarily translated into English by "free speech"... the parrhesiastes is the one who uses parrhesia, i.e., the one who speaks the truth."

"[I]n parrhesia, the speaker makes it... clear and obvious that what he says is his own opinion... by avoiding... rhetorical form which would veil what he thinks. ...[T]he parrhesiastes uses the most direct words and... expression. Whereas rhetoric provides ...technical devices to help ...prevail upon ...minds ...(regardless of the rhetorician's... opinion...)"

"[T]he commitment... in parrhesia is linked to... a difference of status between the speaker and his audience... the parrhesiastes says something which is dangerous to himself and thus involves a risk..."

"The second characteristic of parrhesia... there is always an exact coincidence between belief and truth."

"In the Greek conception of parrhesia... truth-having is guaranteed by the possession of... moral qualities... required... to know... and... convey such truth..."

"If there is a kind of "proof" of the sincerity of the parrhesiastes, it is his courage... [Saying] something dangerous—different from what the majority believes—is a strong indication that he is a parrhesiastes."

"[R]ecognizing someone as a parrhesiastes... was... important... in Greco-Roman society, and... was explicitly raised and discussed by Plutarch, Galen, and others."

"[W]hen a philosopher addresses himself to... a , and tells him... tyranny is incompatible with justice, then the philosopher speaks... [and] believes he is speaking the truth, and... takes a risk... [T]hat was Plato's situation with Dionysius in Syracuse... reference... Plato's Seventh Letter, and... The Life of Dion by Plutarch."

"Parrhesia... in its extreme form... takes place in the "game" of life or death. ...[Y]ou risk death to tell the truth instead of reposing in the security of a life where... truth goes unspoken. ...[H]e prefers himself as... truth-teller rather than... living... false to himself"

"Parrhesia is... always a "game" between the one who speaks the truth and the interlocutor."

"[T]he function of parrhesia... has the function of criticism: criticism of the interlocutor or of the speaker..."

"The parrhesia comes from "below,"... and is directed... "above." ...[A]n ancient Greek would not say ...a teacher or father who criticizes a child uses parrhesia."

"[W]hen a philosopher criticizes a ... a citizen criticizes the majority... a pupil criticizes his teacher... such speakers may be using parrhesia."

"The last characteristic of parrhesia... telling the truth is regarded as a duty."

"In parrhesia the speaker uses his freedom and chooses frankness instead of persuasion, truth instead of falsehood or silence, the risk of death instead of life and security, criticism instead of flattery, and moral duty instead of and moral apathy... in most of the Greek texts... from the Fifth Century B.C. to the Fifth Century A.D."

"[I]n Euripides' plays and... in the texts of the Fourth Century B.C., parrhesia is an essential characteristic of ."

"A sovereign shows himself to be a if he disregards his honest advisors, or punishes them for what they have said."

"In... Plato, Socrates appears in the role of the perrhesiastes."

"[The play] Ion is... devoted to the problem of parrhesia... [I]t pursues the question; who has the right, the duty, and the courage to speak the truth?"

"[[Power|[P]ower]] without limitation is directly related to madness. The man who exercises power is wise only insofar as there exists someone who can use parrhesia to criticize him, thereby putting some limit to his power, to his command."

"[W]e see..., a connection between the lack of parrhesia and slavery. For if you cannot speak freely... then you are enslaved."

"Ion explains that in a democracy there are three categories of citizens: ...(1) citizens who have neither power nor wealth, and who hate all who are superior ...; (2) ...good Athenians ...capable of exercising power, but because they are wise ...keep silent ... and do not worry about ...political affairs ...(3) ...reputable men who are powerful, and use their discourse and reason to participate ...[T]he first group ...will hate him; the second ...will laugh at the young man who wishes to be regarded as one of the First Citizens of Athens; and the ...politicians, will be jealous ...and will try to get rid of him."

"Ion is... a parrhesiastes, i.e., the sort... so valuable to democracy or monarchy since he is courageous enough to explain either to the demos or to the king just what the short-comings of their life really are."

"[A]thuroglossos is characterized by..: (1) When you have "a mouth like a running spring," you cannot distinguish those occasions when you should speak from those when you should remain silent; or that which must be said from that which must remain unsaid; or the circumstances and situations where speech is required from those where one ought to remain silent. (2) As Plutarch notes... you have no regard for the value of logos, for rational discourse as a means of gaining access to truth."

"[I]t is a sign of wisdom to be able to use parrhesia without falling into the garrulousness of athuroglossos... One of the problems... how to distinguish that which must be said from that which should be kept silent."

"In... "The Education of Children"... Plutarch gives an anecdote of Theocritus, a sophist, as an example of athuroglossos... he is... "a giant in impudence"... strong not because of his reason, or his rhetorical ability... or his ability to pronounce the truth, but only because he is arrogant. ...His fourth trait is... "putting his confidence in bluster." He is confident in thorubos... the noise made by a strong voice, by a scream, a clamor, or uproar. ...The final characteristic ...his confidence in ..."ignorant outspokenness..." ... it lacks mathesis ...—learning or wisdom."

"In order for parrhesia to have positive political effects, it must... be linked to a good education, to intellectual and moral formation, to paideia or mathesis."

"The problem... Democracy is founded by a politeia, a constitution, where the demos, the people, exercise power, and... everyone is equal in front of the law. Such a constitution... is condemned to give equal place to all forms of parrhesia, even the worst. Because parrhesia is given even to the worst citizens, the overwhelming influence of bad, immoral, or ignorant speakers may lead... into tyranny, or... otherwise endanger the city. Hence parrhesia may be dangerous for democracy itself."

"[M]ost of the texts... preserved from this period come from writers... either... affiliated with the aristocratic party, or... distrustful of democratic or radically democratic institutions."

"This aristocratic thesis is... [t]he demos, the people, are the most numerous... also comprised of the most ordinary, and... even the worst, citizens. Therefore... what is best for the demos cannot be what is best for the polis... the city."

"[In] "On the Peace"... in 355 B.C., Isocrates... [argues that] depraved orators ["flatterers"]... only say what the people desire to hear. ... The honest orator... is courageous enough, to oppose the demos. He has a critical and pedagogical role... to transform the will of the citizens so that they will serve the best interests of the city. ...[O]pposition between the people's will and the city's best interests is fundamental to Isocrates' criticism of the democratic institutions of Athens. ...[H]e concludes ...it is not ...possible to be heard in Athens if one does not parrot the demos' will ...the only ...speakers left who have an audience are "reckless orators" and "comic poets" ..."

"[F]rom Plato's Republic... [t]he primary danger of liberty and free speech in a democracy is what results when everyone has his own... style of life... For then there can be no common logos, no possible unity, for the city."

"In Plato... or Xenophon... we never see Socrates requiring... examination of conscience or... confession of sins. [A]n account of your life, your bios, is... not to give... the historical events... but... to demonstrate whether you are able to show... a relation between the rational discourse, the ', you... use, and the way... you live. Socrates is inquiring into the way that logos gives form to a person's style of life... whether there is a harmonic relation between the two... the degree of accord between a person's life and its principle of intelligibility or logos... [and] the true nature of the relation between the logos and bios"

"The harmony between word and deed in Socrates' life is Dorian... manifested in the courage he showed at Delium. This harmonic accord... distinguishes Socrates from a sophist... [who] can give... fine and beautiful discourses on courage, but is not courageous... [U]nlike the sophist, he can use parrhesia and speak freely because what he says accords... with what he thinks... [which] accords... with what he does."

"The aim of this Socratic parrhesiastic activity... is to lead the interlocutor to the choice of that kind of life (bios) that will be in Dorian-harmonic accord with, logos, virtue, courage, and truth."

"Foucault has a very good discussion of what the theory of crime—modern economic theory of crime and punishment—has to say. I didn't have much to disagree with him. I think he was accurate on what it has to say. He goes also into a theory of formation of laws, which I had a lot of sympathy with as well."

"The hope may be entertained that some practitioner of the "sociology of knowledge" will one day have an interesting story to tell about -why the work of Michel Foucault generated such wide enthusiasm among certain intellectual elites for several decades in the latter half of the twentieth century. One or two hypotheses of my own may be hazarded. What is interesting about Foucault's unique rhetoric is that he steadfastly resists pronouncing explicit moral-political judgments, yet of course he is judging all the time. Foucault refuses to come clean on his normative commitments, but rather "insinuates" them throughout his work. This constitutes a kind of radical-left positivism that is somehow potently attractive to what I will call the hyper-liberal ethos of late modernity. The idea here is that one must avoid at all costs spelling out a normative vision, since it would ineluctably become the ground for a repressive regime of "normalization." This is clearly connected to the negativism one associates with postmodern writers."

"At a crucial moment in my own work, I was fortunate to have had the opportunity to take heart from the humbling serenity and unaffected craftsmanship of Michel Foucault, in what I was not to know were his last years."

"A profound shaking had happened in the seemingly smooth greensward of the classical philosophical tradition... faultlines in the ancient world that one had barely dreamed of ... A manuscript that moved me deeply."

"And now his own history has been written. What does one learn from these books? Chiefly that Foucault's relativistic outlook can be applied to Foucault himself. He used to say that the 19th century was to Marxism what water is to a fish. Increasingly his own work makes sense only when seen as a product of the Sixties. Not that Foucault would have denied this. He never suggested that he wasn't an interested being too. But one should ask of a body of philosophical work that it has a longer shelf life than a couple of decades. Nine years after his death his achievements, such as they are, are so much historical jetsam, their final worth little more than sweet Foucault."

"I wanted to read Mark Twain and Emerson and Thoreau, and I remember moments in class where I thought my head was going to explode, going, What the fuck are these people talking about? I don't understand what this deconstructive semiotic bullshit is. Who the fuck is Michel Foucault?"

"I continue to be very strongly influenced by Foucault's History of Sexuality, in which he warns us against imagining a complete liberation from power. There can never be a total liberation from power, especially in relation to the politics of sexuality."

"Foucault is an interesting case because I'm sure he honestly wants to undermine power but I think with his writings he reinforced it."

"Following Kant, Foucault criticized the practices that impede maturity, issuing a powerful warning against blind submission to the will of authorities. With Kant, he also insisted that the subject has a “right to question truth concerning its power effects and to question power about its discourses of truth”. Indeed, Foucault notes that his view of critique resembles Kant's idea of enlightenment: both involve “the art of voluntary inservitude, of reflective indocility”. For Foucault, moreover, philosophy as a whole exemplifies this art. The history of philosophy is a history of parrěsia, of the courageous practice of speaking truth to power. By the end of his regrettably short life, then, Foucault recognized that he belonged to the tradition of critical philosophy that runs from Kant and Hegel “to the Frankfurt School, passing through Nietzsche, Max Weber and so on”. As a critical thinker, he promoted maturity by encouraging his readers to engage in sustained – critical and self-critical – reflection on the historical conditions that have made them what they are. For by understanding how they are entangled in these conditions, readers might be able to rise above them and resist them. And, for Foucault, whatever freedom we can meaningfully be said to possess consists in resistance to prevailing forms of power."

"The history of the very institution of the prison is a history of reform. Foucault points this out."

"I openly avow myself the pupil of that mighty thinker Michel Foucault, and even here and there coquette with the modes of expression peculiar to him. But at least for my purposes his useful ideas suffer a certain mystification in his hands: he presents them upside-down, as it were. They must be turned right side up again, if you would discover the rational kernel within the mystical shell."

"From a conservative perspective, the great thing about Foucault's writing is that it is more plastic than Marx, and far less economically subversive. Academics rooted in Foucauldian thought are far more compatible with neoliberalism than the old Marxist academics."

"I have been thinking a lot about this question. Foucault always subscribed to a number of social projects. And in his texts he was talking to readers in an ongoing transformative process. Over the past year I edited his 1971–1972 lectures at the Collège de France, together with Bernard Harcourt, and it became clear to me that his thinking revolved around the idea of change, of transformation, of individuals and collectives. In the stale climate of the 1960s we thought the transformation could occur only through literature and art. And in the early 1970s, when things were opening up, Foucault thought that social change was possible merely by changing a small number of very important relations of power — for example, the prison system. But already in 1976 he realized that this project of social change was a failure, and that people are much more easily mobilized by religious motives or nationalistic ones. The great movements weren't social. He didn't give up on his project of social change. But it had gotten more complicated."

"Foucault, always focused on the exercise of power and repression, tells his students to read Hayek and crew “with special care.” He found much to commend in their work. First and foremost, true liberalism is “imbued with the principle: ‘One always governs too much.’” As important, it asks (and answers) the question, “Why, after all, is it necessary to govern?”"

"What, then, are the grounds that determine Foucault to shift the meaning of this specific will to knowledge and to truth that is constitutive for the modern form of knowledge in general, and for the human sciences in particular, by generalizing this will to knowing self-mastery into a will to power per se and to postulate that all discourses (by no means only the modern ones) can be shown to have the character of hidden power and derive from practices of power? It is this assumption that first marks the turning from an archeology of knowledge to a genealogical explanation of the provenance, rise, and fall of those discourse formations that fill the space of history, without gaps and without meaning."

"In 1982, Foucault invited me to the Collège de France for six weeks. On the first evening we spoke about German films: Werner Herzog and Hans-Jürgen Syberberg were his favourite directors, whilst I spoke out in favour of Alexander Kluge und Volker Schlöndorff. Later we told each other about the curriculum of our respective years of philosophical study, which took something of a different course. He recalled how Lévi-Strauss and structuralism had helped him to liberate himself from Husserl and “the prison of the transcendental subject”. With regard to his discourse theory of power, I asked him at the time about the implicit standards on which his criticism was based. He merely said: “Wait for the third volume of my History of Sexuality“. We had already arranged a date for our next discussion about “Kant and the Enlightenment”. I was very shocked when he died in the interim."

"We talked about Michel Foucault as an example of someone who in theory seemed to challenge those simplistic binary oppositions and mind/body splits. But in his life practice as a teacher, he clearly made a separation between that space where he saw himself as a practicing intellectual-where he not only saw himself as a critical thinker but was seen as a critical thinker-and that space where he was body. It really is clear that the space of high culture was where he was in mind, and the space of the street and street culture (and popular culture, marginalized culture) was where he felt he could be most expressive of himself within the body."

"This sort of infinitely relativistic 'Foucaultism' actually says nothing about anything; but it does bear a close family resemblance to the more commonly held view that 'all' women, 'all' peasants were unpolitical. (Foucault is a prominent French scholar and scholastic.) This is extremely patronising, of course, and based on no shred of evidence. Indeed, in the case of French strikers it requires a poker-faced denial of that evidence. It also allows the authors of such views to dispense with the political dimensional together, on the circular ground that they have shown politics to be of no concern to the people under investigation. The premise is the conclusion and vice-versa."

"In the course of the 1960s there emerged a plethora of applied structuralisms: in anthropology, history, sociology, psychology, political science and of course literature. The best-known practitioners—usually those who combined in the right doses scholarly audacity with a natural talent for self-promotion—became international celebrities, having had the good fortune to enter the intellectual limelight just as television was becoming a mass medium. In an earlier age Michel Foucault might have been a drawing-room favourite, a star of the Parisian lecture circuit, like Henri Bergson fifty years earlier. But when Les Mots et les Choses sold 20,000 copies in just four months after it appeared in 1966 he acquired celebrity status almost overnight. Foucault himself foreswore the label 'structuralist', much as Albert Camus always insisted he had never been an 'existentialist' and didn't really know what that was. But as Foucault at least would have been constrained to concede, it didn't really matter what he thought. 'Structuralism' was now shorthand for any ostensibly subversive account of past or present, in which conventional linear explanations and categories were shaken up and their assumptions questioned. More importantly, 'structuralists' were people who minimized or even denied the role of individuals and individual initiative in human affairs."

"Two widespread assumptions lay behind such thinking, shared very broadly across the intellectual community of the time. The first was that power rested not—as most social thinkers since the Enlightenment had supposed—upon control of natural and human resources, but upon the monopoly of knowledge, knowledge about the natural world; knowledge about the public sphere; knowledge about oneself; and above all, knowledge about the way in which knowledge itself is produced and legitimized. The maintenance of power in this account rested upon the capacity of those in control of knowledge to maintain that control at the expense of others, by repressing subversive 'knowledges'. At the time, this account of the human condition was widely and correctly associated with the writings of Michel Foucault. But for all his occasional obscurantism Foucault was a rationalist at heart. His early writings tracked quite closely the venerable Marxist claim that in order to liberate workers from the shackles of capitalism one had first to substitute a different account of history and economics for the self-serving narrative of bourgeois society. In short, one had to substitute revolutionary knowledge, so to speak, for that of the masters: or, in the language of Antonio Gramsci so fashionable a few years earlier, one had to combat the 'hegemony' of the ruling class."

"The shortage of public intellectuals (in the English-speaking world) goes back to the decline of the written media: the first TV intellectual was Foucault, who was at home in both media, but his successors and imitators know only the camera."

"Basically, Foucault was Nietzsche’s ape. He adopted some of Nietzsche’s rhetoric about power and imitated some of his verbal histrionics. But he never achieved anything like Nietzsche’s insight or originality. Nietzsche may have been seriously wrong in his understanding of modernity: he may have mistaken one part of the story—the rise of secularism—for the whole tale; but few men have struggled as honestly with the problem of nihilism as he. Foucault simply flirted with nihilism as one more “experience.”"

"Many cultural historians have found both inspiration and an intellectual rationale for their synchronic approach in the work of a celebrated and controversial French thinker, Michel Foucault. Along with E. P. Thompson and Fernand Braudel, Foucault is among the most influential figures in recent Western historiography. But while even their critics express respect for Thompson's and Braudel's achievements, Foucault is a thinker many historians love to hate, if only because he was not a member of the discipline but a philosopher who wrote books based on historical sources. A mythical figure even in his relatively short lifetime (he died in 1984, aged fifty-eight), Foucault was a brilliant intellectual polymath who, although formally trained in philosophy, developed an early interest in the history of psychiatry and produced as his doctoral thesis a thousand-page study of madness in early modern Europe. His many books include philosophical histories of the knowledge-systems of early modern and modern Europe, The Order of Things and The Archaeology of Knowledge, a multivolume meditation on the history of sexuality, and the book many consider his masterpiece, Discipline and Punish, a study of the shift in Western societies from physical punishment to imprisonment as the standard response to crime."

"[A] number of points are worth making at once [that challenge Foucault's Madness and Civilization]: (1) There is ample evidence of medieval cruelty towards the insane; (2) In the late Middle Ages and the Renaissance, the mad were already confined, to cells, jails or even cages; (3) ‘dialogue’ or no ‘dialogue’, even madness during those times was frequently connected with sin -- even in the Ship of Fools mythology; and, to that extent, it was regarded in a far less benevolent light than suggested by Foucault (pre-modern minds accepted the reality of madness -- ‘madness as a part of truth’ -- just as they accepted the reality of sin; but this does not mean they valued madness, any more than sin; (4) as Martin Schrenk (himself a severe critic Foucault) has shown, early modern madhouses developed from medieval hospitals and monasteries rather than as reopened leprosaria; (5) the Great Confinement was primarily aimed not at deviance but at poverty -- criminal poverty, crazy poverty or just plain poverty; the notion that it heralded (in the name of the rising bourgeoise) a moral segregation does not bear close scrutiny; (6) at any rate, as stressed by Klaus Doerner, another of critic of Foucault (Madmen and the Bourgeoisie, 1969), that there was no uniform state-controlled confinement: the English and German patterns, for example, strayed greatly from the Louis Quatorzian Grand Renfermement; (7) Foucault's periodization seems to me amiss. By the late eighteenths century, confinement of the poor was generally deemed a failure; but it is then that confinement of the mad really went ahead, as so conclusively shown in statistics concerning England, France, and the United States; (8) Tuke and Pinel did not ‘invent’ mental illness. Rather, they owe much to prior therapies and often relied also on their methods; (9) moreover, in nineetenth-century England moral treatment was not that central in the medicalization of madness. Far from it: as shown by Andrew Scull, physicians saw Tukean moral therapy as a lay threat to their art, and strove to avoid it or adapt it to their own practice. Once more, Foucault's epochal monoliths crumble before the contradictory wealth of the historical evidence."

"So at bottom Foucault's enterprise seems stuck on the horns of a huge epistemological dilemma: if it tells the truth, then all knowledge is suspect in its pretense of objectivity; but in that case, how can the theory itself vouch for its truth? It's like the famous paradox about the Cretean Liar--and Foucault seemed quite unable to get out of it (which explains why he didn't even try to face it)."

"Foucault annexed history to philosophy. Nobody yet knows for sure which of the two came out more damaged in the process, history or philosophy."

"Try teaching Foucault at a contemporary law school, as I have, and you will quickly find that subversion takes many forms, not all of them congenial to [Judith] Butler and her allies. As a perceptive libertarian student said to me, Why can't I use these ideas to resist the tax structure, or the antidiscrimination laws, or perhaps even to join the militias? Others, less fond of liberty, might engage in the subversive performances of making fun of feminist remarks in class, or ripping down the posters of the lesbian and gay law students' association. These things happen. They are parodic and subversive. Why, then, aren't they daring and good? [...] Well, there are good answers to those questions, but you won't find them in Foucault"

"The truth is that Foucault knew very little about anything before the seventeenth century and, in the modern world, outside France. His familiarity with the literature and art of any period was negligible. His hostility to psychology made him incompetent to deal with sexuality, his own or anybody else's. The elevation of Foucault to guru status by American and British academics is a tale that belongs to the history of cults. [...] The more you know, the less you are impressed by Foucault."

"As a philosopher sympathetic to Foucault recently remarked to me, Foucault failed in each of his major inquiries and, in desperation, went further afield from his areas of expertise. The History of Sexuality is a disaster. Page after page is sheer fantasy, unsupported by the ancient or modern historical record. [...] Foucault, like David Letterman, made smirking glibness an art form."

"The most serious flaw of Foucault's system is in the area of sex. I view his hurried, compulsive writing as a massive rationalist defense-formation to avoid thinking about (a) woman, (b) nature, (c) emotion, and (d) the sexual body. His attempt to make the body passive property of male society is an evasion of the universal fact so intolerable to him: that we are all born of human mothers. By turning women into ciphers, he miniaturizes and contains them."

"A proper encounter with Foucault's work permanently changes one's understanding of how people are governed in modern society."

"Foucault's response to attempts such as those of Habermas, Dewey, and Berlin - attempts to build a philosophy around the needs of a democratic society - is to point out the drawbacks of this society, the ways in which it does not allow room for self-creation, for private projects. Like Habermas and Sellars, he accepts Mead's view that the self is a creation of society. Unlike them, he is not prepared to admit that the selves shaped by modern liberal societies are better than the selves earlier societies created. A large part of Foucault's work - the most valuable part, in my view - consists in showing how the patterns of acculturation characteristic of liberal societies have imposed on their members kinds of constraints of which older, premodern societies had not dreamed. He is not, however, willing to see these constraints as compensated for by a decrease in pain, any more than Nietzsche was willing to see the resentfulness of "slave-morality" as compensated for by such a decrease."

"Foucault revealed the universal truths hidden in societal extremes."

"It is, for instance, pretty suicidal for embattled minorities to embrace Michel Foucault, let alone Jacques Derrida. The mi­nority view was always that power could be undermined by truth [...] Once you read Foucault as saying that truth is sim­ply an effect of power, you've had it. [...] But American de­partments of literature, history and sociology contain large numbers of self-described leftists who have confused radical doubts about objectivity with political radicalism, and are in a mess."

"There are certainly many insights in Foucault's early writings. But the relativist method – which identifies reality with a way of apprehending it – must lead us to doubt that they are hard-won. For this method allows him to jump across to the finishing line of historical enquiry, without running the hard track of empirical enquiry. Consider what would really have to be proved by someone who believed man to be an artefact, and a recent one at that – more recent even than the medieval and renaissance humanists who extolled man's virtues. A proper assessment of Foucault's thought must therefore try to separate its two components: the relativist sleight of hand (which would lead us too simply to dismiss him), and the ‘diagnostic’ analysis of the secret ways of power. It is the second that is interesting, and which is expressed in Foucault's claim that each successive form of ‘knowledge’ is devoted to the creation of a discourse favourable to, and symbolic of, the prevailing forms of domination."

"The impression created by these later works is of a Foucault who has been ‘normalized’. His command of the French language, his fascination with ancient texts and the by-ways of history, his flamboyant imagination and beautiful style – all have been put, at last, to a proper use, in order to describe the human condition respectfully, and to cease to look for the secret ‘structures’ beneath its smile. It helps that his subject-matter is the ancient world, and the works of authors who cannot be dismissed or debunked as merely ‘bourgeois’. But it helps too that Foucault had, by this time, been ‘mugged by reality’, and was being cared for in the institution which he had once scoffed at for its habit of confronting its inmates with the ‘truth’ of their condition. It was when confronted with the truth of his condition that Foucault at last grew up. He had gone down with Sartre into the hell where the Other resides. But he had recognized his own otherness too, and returned to the real world in a posture of acceptance. And, reading these later works, I was constantly drawn to the thought that Foucault's belligerent leftism was not a criticism of reality, but a defence against it, a refusal to recognize that, for all its defects, normality is all that we have."

"Michel Foucault once characterized Derrida's prose style to me as "obscurantisme terroriste." The text is written so obscurely that you can't figure out exactly what the thesis is (hence "obscurantisme") and then when one criticizes it, the author says, "Vous m'avez mal compris; vous êtes idiot" ["You did not understand; you are an idiot"] (hence "terroriste")."

"Foucault was often lumped with Derrida. That's very unfair to Foucault. He was a different caliber of thinker altogether."

"The name ‘Foucault’ was first spoken to me in dark, conspiratorial tones, as if he were a threat to the then-alluring project of combining Althusser's ideology-centred thinking and the British culture-and-hegemony thinking. Foucault, along with Weber, Popper, Berlin, and many others (the list was a tiresomely long one) had to be rejected, or so I was told. My mind was soon changed on that score. The exciting work of Barry Hindess and Paul Hirst (see esp. Hindess and Hirst 1975, 1977), who had worked through the Althusser and British Cultural Marxist possibilities more thoroughly than anyone else I had then read (or have read since), indirectly opened up the idea that Foucault was not only not a threat to the best-alternative project I shared with hundreds of others, but was the key to that project's success. At last, here was a thinker who could treat power seriously yet undogmatically, someone who could relate power to society without making it read like the script of a prison movie. I was hooked. I tried my best to understand (or to sound like I understood) all the methodological innovations that came with the Foucault package – ‘archaeology’, ‘genealogy’, ‘discourse’, ‘episteme’, and so on. My excitement reached its peak when, using these tools, Foucault appeared to have succeeded in crafting an entirely new approach to the study of government, under a term of his own invention, ‘governmentality’. But, as so often happens in life, the peak of excitement turned out to be the moment when doubts emerged. These doubts became stronger, eventually leading me to think that Foucault's works from this period too often pronounce and too rarely argue from the historical evidence."

"Foucault's achievement in so quickly building such an enthralling account of the operation of power in society is all the more remarkable when one remembers the dominant hold that Marxist and neo-Marxist accounts had in the Anglophone academy in the 1970s and even into the 1980s. The key to his success probably lies in the fact that he did not initially present his insights in abstract terms but instead allowed them to emerge from his painstaking histories of various knowledge endeavours, or sciences, particularly psychiatry, psychology, penology, and sexology. Without bludgeoning his readers, Foucault allowed them to see mostly power where others would see mostly science."

"In making these various critical points, I am not proposing that Foucault should lose his place in the social and political theory hall of fame. He undoubtedly deserves his berth (as well as deserving what all the other inductees have won as a right: the right to be constructively criticised). I am not even suggesting that Foucault's writings on power are totally tainted by the problems I have highlighted. Certainly, many of his pronouncements about surveillance, for instance, along with the examples offered above look overblown now. The fact that the panopticon was never actually built should have alerted more readers (including me) to this at the time his main power pieces were being published, as should have the fact that the ‘eye of power’ arrangements of hospitals, schools, factories, and so forth (see esp. Foucault 1980: 146–65) were more a matter of architectural fashion, among other things, than they were an attempt to enhance the surveillance of subjects. But making claims that now look overblown is not much of a charge; it was the 1970s after all. I think that in this context I should dismiss that charge as trivial and concentrate instead on the fact that the second and third volumes of the History of Sexuality project (both published posthumously: Foucault 1986a, 1986b) – books in which the problem of ‘theorising’ stressed above is totally absent – were inspirational to Peter Brown in producing some of the most exciting and convincing work on power produced in the last thirty years (see esp. Brown 1988). This is both Foucault on power and Foucault at his very best: ‘the author of descriptive genealogies – “grey, meticulous and patiently documentary”’ (Saunders, quoting Foucault, 1997: 105–6)"

"Sequestered in the usual sectarianism of the academic world, no stimulating reading had existed that took into consideration the arguments of Friedrich Hayek, Gary Becker, or Milton Friedman. On this point, one can only agree with Lagasnerie: Foucault allowed us to read and understand these authors, to discover in them a complex and stimulating body of thought. On that point I totally agree with him. It's undeniable that Foucault always took pains to inquire into theoretical corpuses of widely differing horizons and to constantly question his own ideas."

"A leftist government doesn't exist because being on the left has nothing to do with governments."

"There's no need to fear or hope, but only to look for new weapons."

"In order for music to free itself, it will have to pass over to the other side — there where territories tremble, where the structures collapse, where the ethoses get mixed up, where a powerful song of the earth is unleashed, the great ritornelles that transmutes all the airs it carries away and makes return."

"Instead of gambling on the eternal impossibility of the revolution and on the fascist return of a war-machine in general, why not think that a new type of revolution is in the course of becoming possible, and that all kinds of mutating, living machines conduct wars, are combined and trace out a plane of consistence which undermines the plane of organization of the World and the States?"

"A book is a small cog in a much more complex, external machinery. Writing is a flow among others; it enjoys no special privilege and enters into relationships of current and counter-current, of back-wash with other flows — the flows of shit, sperm, speech, action, eroticism, money, politics, etc. Like Bloom, writing on the sand with one hand and masturbating with the other — two flows in what relationship?"

"It is at work everywhere, functioning smoothly at times, at other times in fits and starts. It breathes, it heats, it eats. It shits and fucks. What a mistake to have ever said the id. Everywhere it is machines — real ones, not figurative ones: machines driving other machines, machines being driven by other machines, with all the necessary couplings and connections."

"Nous sommes fatigués de l'arbre. Nous ne devons plus croire aux arbres, aux racines ni aux radicelles. Nous en avons trop souffert. Toute la culture arborescente est fondée sur eux, de la biologie à la linguistique. Au contraire, rien n'est beau, rien n'est amoureux, rien n'est politique, sauf les tiges souterraines et les racines aériennes, l'adventice et le rhizome."

"One of the principal motifs of Nietzsche’s work is that Kant had not carried out a true critique because he was not able to pose the problem of critique in terms of values."

"Evaluations, in essence, are… ways of being, modes of existence of those who judge and evaluate."

"This is Nietzsche’s twofold struggle: against those who remove values from criticism, contenting themselves with producing inventories of existing values or with criticizing things in the name of established values (the “philosophical labourers”, Kant and Schopenhauer, BGE 211); but also against those who criticise or respect values by deriving them from simple facts, from so-called “objective facts” (the utilitarians, the “scholars”, BGE Part 6). In both cases philosophy moves in the indifferent element of the valuable in itself or the valuable for all. Nietzsche attacks both the “high” idea of foundation which leaves values indifferent to their origin and the idea of simple causal derivation or smooth beginning which suggests an indifferent origin for values. Nietzsche substitutes the pathos of difference or distance (the differential element) for both the Kantian principle of universality and the principle of resemblance dear to the utilitarians. “It was from the height of this pathos of distance that they first seized the right to create values and to coin names for them; what did utility matter?” (GM I 2 p. 26)"

"Nietzsche’s break with Schopenhauer rests on precisely this point; it is a matter of knowing whether the will is unitary or multiple."

"When Nietzsche praises egoism it is always in an aggressive or polemical way, against the virtues, against the virtue of disinterestedness (Z III “Of the three evil things”). But in fact egoism is a bad interpretation of the will, just as atomism is a bad interpretation of force. In order for there to be egoism it is necessary for there to be an ego."

"It is at work everywhere, functioning smoothly at times, at other times in firs and starts . It breathes, it heats, it eats. It shits and fucks. What a mistake to have ever said the id. Everywhere it is machines- real ones, not figurative ones: machines driving other machines, machines being driven by other machines, with all the necessary couplings and connections. An organ-machine is plugged into an energy-source-machine: the one produces a flow that the other interrupts The breast is a machine that produces milk, and the mouth a machine coupled to it."

"Schizophrenia is like love: there is no specifically schizophrenic phenomenon or entity; schizophrenia is the universe of productive and reproductive desiring machines, universal primary production as "the essential reality of man and nature""

"Second, we make no distinction between man and nature: the human essence of nature and the natural essence of man become one within nature in the form of production or industry, just as they do within the life of man as a species. Industry is then no longer considered from the extrinsic point of view of utility, but rather from the point of view of its fundamental identity with nature as production of man and by man."

"Deleuze is a key figure in postmodern French philosophy. Considering himself an empiricist and a vitalist, his body of work, which rests upon concepts such as multiplicity, constructivism, post-structuralism, difference and desire, stands at a substantial remove from the main traditions of 20th century Continental thought. His thought locates him as an influential figure in present-day considerations of society, creativity and subjectivity. Notably, within his metaphysics he favored a Spinozian concept of a plane of immanence with everything a mode of one substance, and thus on the same level of existence."

"Then M. Ravel discussed another idea. That was that in these days of cacophony it might be quite an original idea for the orchestra to start, say, in C major, and then, through a series of discords the instruments should divide, some going up a semitone at every three or four bars, while others went down in the same way, eventually ending in perfect harmony in C major two octaves apart. He said: 'It is just an idea but it might be rather fun working it out and certainly a novel way of resolving harmony from discord.'"

"Mais est-ce qu'il ne vient jamais à l'idée de ces gens-là que je peux être 'artificiel' par nature?"

"I have the intention to dedicate Le Gibet to you. It is not because I think you merit a rope to hang yourself, but because it is the least difficult of the three pieces."

"Kodra est le père d'une nouvelle civilisation du monde."

"His fables so brutally imposed, sweated by heart. Their morality is a prison which I don't want to penetrate anymore."

"Une femme est plus belle que le monde où je vis, Et je ferme les yeux."

"Il y a assurément un autre monde, mais il est dans celui-ci..."

"It seems a little paradoxical to construct a configuration space with the coordinates of points which do not exist."

"The history of science shows that the progress of science has constantly been hampered by the tyrannical influence of certain conceptions that finally came to be considered as dogma. For this reason, it is proper to submit periodically to a very searching examination, principles that we have come to assume without any more discussion."

"Two seemingly incompatible conceptions can each represent an aspect of the truth … They may serve in turn to represent the facts without ever entering into direct conflict."

"The actual state of our knowledge is always provisional and … there must be, beyond what is actually known, immense new regions to discover."

"Admettant que la particule possède une vibration interne qui permet de l'assimiler à une petite horloge, je supposais que cette horloge se déplaçait dans son onde de façon que sa vibration interne reste constamment en phase avec celle de l'onde : c'est le postulat de l'accord des phases."

"Architecture is the masterly, correct and magnificent play of masses brought together in light. Our eyes are made to see forms in light; light and shade reveal these forms; cubes, cones, spheres, cylinders or pyramids are the great primary forms which light reveals to advantage; the image of these is distinct and tangible within us without ambiguity. It is for this reason that these are beautiful forms, the most beautiful forms. Everybody is agreed to that, the child, the savage and the metaphysician."

"The "styles" are a lie."

"Une maison est une machine-à-habiter."

"You employ stone, wood and concrete, and with these materials you build houses and palaces. That is construction. Ingenuity is at work. But suddenly you touch my heart, you do me good, I am happy and I say: "This is beautiful." That is Architecture. Art enters in."

"It is a question of building which is at the root of the social unrest of today: architecture or revolution."

"Modern life demands, and is waiting for, a new kind of plan, both for the house and the city."

"The Despot is not a man. It is the Plan. The correct, realistic, exact plan."

"The object of this edict is to enlighten the present and future citizens of Chandigarh about the basic concepts of planning of the city so that they become its guardians and save it from whims of individuals."

"The city of Chandigarh is planned to human scale. It puts us in touch with the infinite cosmos and nature. It provides us with places and buildings for all human activities by which the citizens can live a full and harmonious life. Here the radiance of nature and heart are within our reach."

"Vehicular traffic is completely forbidden in the green strips, where tranquility shall reign and the curse of noise shall not penetrate."

"The age of personal statues is gone. No personal statues shall be erected in the city or parks of Chandigarh. The city is planned to breathe the new sublimated spirit of art. Commemoration of persons shall be confined to suitably placed bronze plaques."

"The truthfulness of materials of constructions, concrete, bricks and stone, shall be maintained in all buildings constructed or to be constructed. The seed of Chandigarh is well sown. It is for the citizens to see that the tree flourishes."

"Space and light and order. Those are the things that men need just as much as they need bread or a place to sleep."

"Vous savez, c'est la vie qui a raison, l'architecte qui a tort."

"A hundred times I have thought: New York is a catastrophe, and fifty times: it is a beautiful catastrophe."

"My own duty and my aim is to try and raise people out of their misery, away from catastrophe; to provide them with happiness, with a contented existence, with harmony. My own goal is to establish or re-establish harmony between people and their environment."

"I see with horror that the 'Salon Automne' is looming, for I haven't got, and shan't have, all I meant to be able to show there, the big stillife ['Harmony in Red'] has taken up so much of my time; but since I am content with the outcome, I tell myself one can't hope to be fast as well as good."

"Rules have no existence outside of individuals: otherwise a good professor would be as great a genius as Racine."

"Expression for me does not reside in passions glowing in a human face or manifested by violent movement. The entire arrangement of my picture is expressive; the place occupied by my figures, the empty space around them, the proportions, everything has its share. Composition is the art of arranging in a decorative manner the diverse elements at the painter's command to express his feelings. In a picture every part will be visible and will play its appointed role, whether it be principal or secondary. Everything that is not useful in the picture is, it follows, harmful. A work of art must be harmonious in its entirety: any superfluous detail would replace some other essential detail in the mind of the spectator."

"Underlying this succession of moments which constitutes the superficial existence of beings and things, and which is continually modifying and transforming them, one can search for a truer, more essential character, which the artist will seize so that he may give to reality a more lasting interpretation."

"For me all is in the conception. I must therefore have a clear vision of the whole from the beginning."

"I simply try to put down colours which render my sensation."

"There is an impelling proportion of tones that may lead me to change the shape of a figure or to transform my composition. Until I have achieved this proportion in all the parts of a composition I strive towards it and keep on working. Then a moment comes when all the parts have found their definite relationships, and from then on it would be impossible for me to add a stroke to my picture without having to repaint it entirely."

"What I dream of is an art of balance, of purity and serenity, devoid of troubling or disturbing subject matter, an art which could be for every mental worker, for the businessman as well as the man of letters, for example, a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue."

"The simplest means are those which best enable an artist to express himself. His means of expression must derive almost all of necessity from his temperament."

"Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human."

"What I am after, above all, is expression. Sometimes it has been conceded that I have a certain technical ability but that, my ambition being limited, I am unable to proceed beyond a purely visual satisfaction such as can be procured from the mere sight of a picture. But the purpose of a painter must not be conceived as separate from his pictorial means, and these pictorial means must be the more complete (I do not mean complicated) the deeper is his thought. I am unable to distinguish between the feeling I have for life and my way of expressing it."

"Expression, to my way of thinking, does not consist of the passion mirrored upon a human face or betrayed by a violent gesture. The whole arrangement of my picture is expressive. The place occupied by figures or objects, the empty spaces around them, the proportions – everything plays a part. Composition is the art of arranging in a decorative manner the various elements at the painter’s disposal for the expression of his feelings"

"In a picture every part will be visible and will play the role conferred upon it, be it principal or secondary. All that is not useful in the picture is detrimental."

"Composition, the aim of which is expression, alters itself according to the surface to be covered. If I take a sheet of paper of given dimensions I will jot down a drawing which will have a necessary relation to its format – I would not repeat this drawing on another sheet of different dimensions, for instance on a rectangular sheet.. ..a drawing must have a power of expansion which can bring to life the space which surrounds it."

"I want to reach the state of condensation of sensations which constitutes a picture. Perhaps I might be satisfied momentarily with a work finished at one sitting, but I would soon get bored looking at it; therefore, I prefer to continue working on it so that later I may recognize it as a work of my mind.."

"I try to condense the meaning of this body [of a woman] by drawing its essential lines. The charm will then become less apparent at first glance, but in the long run it will begin emanate from the new image. This image at the same time will be enriched by a wider meaning, a more comprehensively human one, while the charm, being less apparent, will not be its only characteristic. It will be merely one element in the general conception of the figure."

"If upon a white canvas I jot down some sensations of blue, of green, of red – every new brush stroke diminishes the importance of the preceding ones. Suppose I set out to paint an interior.. .If I paint a green near the red, if I paint in a yellow floor, there must still be between this green, this yellow, and the white of the canvas a relation that will be satisfactory to me. But these several tones mutually weaken one another. It is necessary, therefore, that the various elements that I use be so balanced that they do not destroy one another.."

"I am forced to transpose until finally my picture may seem completely changed when, after successive modifications, the red has succeeded the green as the dominant color. I cannot copy nature in a servile way, I must interpret nature and submit it to the spirit of the picture – when I have found the relationship of all the tones the result must be a living harmony of tones, a harmony not unlike that of a musical composition"

"The chief aim of color should be to serve expression as well as possible. I put down my colors without a preconceived plan. If at the first step and perhaps without my being conscious of it one tone has particularly pleased me, more often then not when the picture is finished, I will notice that I have respected this tone while I have progressively altered and transformed the others. I discover the quality of colors in a purely instinctive way."

"To paint an autumn landscape I will not try to remember what colors suit this season, I will only be inspired by the sensation that the season gives me; the icy clearness of the sour blue sky will express the season just as well as the tonalities of the leaves. My sensation itself may vary, the autumn may be soft and warm like a protracted summer or quite cool with a cold sky and lemon yellow trees that give a chilly impression and announce winter."

"My choice of colors does not rest on any scientific theory; it is based on observation, on feeling, on the very nature of each experience. I.. ..merely try to find a color that will fit my sensation. There is an impelling proportion of tones that can induce me to change the shape of a figure or to transform my composition. Until I have achieved this proportion in all the parts of the composition I strive towards it and keep on working. Then a moment comes when every part has found its definite relationship, and from then on it would be impossible for me to add a stroke to my picture without having to paint it all over again."

"What interests me most is neither still life nor landscape but the human figure. It is through it that I best succeed in expressing the nearly religious feeling that I have towards life. I do not insist upon the details of the face. I do not care to repeat them with anatomical exactness. Though I happen to have an Italian model whose appearance at first suggests nothing but a purely animal existence, yet I succeed in picking out among the lines of his face those which suggest that deep gravity which persists in every human being."

"A work of art must carry in itself its complete significance and impose it upon the beholder even before he can identify the subject-matter. When I see the Giotto frescoes at Padua I do not trouble to recognize which scene of the life of Christ I have before me, but I perceive instantly the sentiment which radiates from it and which is instinct in the composition in every line and color."

""I do not literally paint that table, but the emotion it produces upon me." After a pause full of intense thought on my part, I asked: "But if one hasn't always emotion. What then?" "Do not paint," he quickly answered. "When I came in here to work this morning I had no emotion, so I took a horseback ride. When I returned I felt like painting, and had all the emotion I wanted."

"I know that Seurat is completely the opposite of a romantic, which I am, but with a good portion of the scientific, of the rationalist, which creates the struggle from which I sometimes emerge the victor, but exhausted."

"Delacroix's composition is more entirely created, while that of Seurat employs matter organized scientifically, reproducing, presenting t our eyes objects constructed by scientific means rather than by signs, coming from our feeling. As result there is in his works a positivism, a slightly inert stability, coming from his composition, which is not the result of a creation of the mind, but of a juxtaposition of the objects. It is necessary to cross this barrier to re-feel light, colored and soft, and pure, the noblest pleasure"

"The work of Renoir, after that of Cézanne whose great influence had been manifested among artists, save us from whatever drying effect there is in pure abstraction. The rules that one might deduce in considering the work of these two masters appear to be more difficult to discover in the work of Renoir, who hides his efforts better. Whereas the continuous tension of the mind of Cézanne, his lack of self-confidence, prevent him from giving himself to us entirely even though he shows the evidence of his corrections, from which are easily (too easily) deduced rules that have a mathematical precision. [critical quote on Cubism ]."

"A little while ago I took a nap under an olive tree, and the color harmonies I saw were so touching. It's like a paradise you have no right to analyze, but you are a painter, for God's sake! Nice is so beautiful! Alight so soft and tender, despite its brilliance."

"Slowly I discovered the secret of my art. It consists of a meditation on nature, on the expression of a dream which is always inspired by reality. With more involvement and regularity, I learned to push each study in a certain direction. Little by little the notion that painting is a means of expression asserted itself, and that one can express the same thing in several ways. Exactitude is not truth, Delacroix liked to say."

"I will repeat what I once said to Guillaume Apollinaire: "For my part I have never avoided the influence of others. I would have considered it cowardice and a lack of sincerity toward myself.""

"At each stage I reach a balance, a conclusion. At the next sitting, if I find that there is a weakness in the whole, I make my way back into the picture by means of the weakness — I re-enter through the breach — and I reconceive the whole. Thus everything becomes fluid again."

"I don't paint things. I only paint the differences between things."

"Tomorrow, Sunday, at 4 o'clock, visit from Picasso. As I'm expecting to see him tomorrow, my mind is at work. I'm doing this propaganda show [at the Victoria and Albert Museum in London, 1945] with him. I can imagine the room with my pictures on one side, and his on the other. It's as if I were going to cohabit with an epileptic."

"An artist must possess Nature. He must identify himself with her rhythms, by effort that will prepare the mastery which will later enable him to express himself in his own language."

"The future painter must feel what is useful for his development – drawing or even sculpture everything that will let him become one with Nature, identify himself with her, by entering into the things – which is what I call Nature – that arouse his feelings. I believe study by means of drawing is most essential. If drawing is of the Spirit and color of the Senses, you must draw first, to cultivate the spirit and to be able to lead color into spiritual paths."

"Drawing with scissors: To cut to the quick in color reminds me of the direct cutting of sculptors."

"The vertical is in my spirit. It helps me to define precisely the direction of lines, and in quick sketches I never indicate a curve, that of a branch in landscape for example, without being aware of its relationship to the vertical. My curves are not mad."

"A musician once said: In art, truth and reality begin when one no longer understands what one is doing or what one knows, and when there remains an energy that is all the stronger for being constrained, controlled and compressed. It is therefore necessary to present oneself with the greatest humility: white, pure and candid with a mind as if empty, in a spiritual state analogous to that of a communicant approaching the Lord's Table. Obviously it is necessary to have all of one's experience behind one, but to preserve the freshness of one's instincts."

"Do I believe in God? Yes, when I am working. When I am submissive and modest, I feel myself to be greatly helped by someone who causes me to do things that exceed my capabilities. However, I cannot acknowledge him because it is as if I were to find myself before a conjuror whose sleight of hand eludes me."

"There are flowers everywhere for those who want to see them"

"You study, you learn, but you guard the original naiveté. It has to be within you, as desire for drink is within the drunkard or love is within the lover."

"There is nothing more difficult for a truly creative painter than to paint a rose, because before he can do so he has first to forget all the roses that were ever painted."

"We are born with the sensibility of a period of civilization. We are not masters of our production; it is imposed upon us."

"A picture must possess a real power to generate light.. ..for a long time now I've been conscious of expressing myself through light or rather in light."

"Impressionism is the newspaper of the soul."

"[I wouldn't mind turning into] a vermilion goldfish."

"Drawing is like making an expressive gesture with the advantage of permanence."

"It is only after years of preparation that the young [artist] should touch color — not color used descriptively, that is, but as a means of personal expression."

"I have always tried to hide my efforts and wished my works to have the light joyousness of springtime which never lets anyone suspect the labors it has cost me.."

"I have been no more than a medium, as it were."

"The artist begins with a vision — a creative operation requiring effort. Creativity takes courage."

"My verse forms are relatively traditional (traditions alter). In general they have moved away from strict classical patterns in the direction of greater freedom — as is usual with most artists learning a trade. It takes courage, however, to leave all props behind, to cast oneself, like Matisse, upon pure space. I still await that confidence."

"We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable."

"Matisse once said, "In order to paint a rose you have to forget every painting of a rose that's ever been painted in order to paint it anew.""

"I have seen Matisse's that were more 'unfinished' and yet more 'finished' than any American painters. Matisse was obviously in a terrific emotion at the time and he was more ’unfinished’ than 'finished'."

"For Matisse in particular it often served to separate areas of contrasting colour, assisting in the vibrant activation of such juxtaposed blocks. While the Impressionist use of colour contrasts had concentrated mainly on the complementary yellow and violet-blue pair, because these most aptly imitated the effects of sunlight and shadow in nature, Matisse shifted to the red-green complementaries. This pair creates the greatest optical vibration when juxtaposed because the two colours are closest in tone of any on the colour circle. As the eye tires of reading, say, the red as dominant, the green at once appears to come forward and dominate. This vacillation of the eye between the two colours vying for dominance sets up an optical vibration, which enhances the colour properties of each simultaneously. By focusing upon the red-green pair—which Matisse often biased towards pink-turquoise—he avoided the emphasis on the naturalistic representation associated with the Impressionists' use of colour. It was also a pair which, again because of tonal equivalence, affirmed the flatness of the picture surface by negating the illusion of depth."

"Unlike the essentially naturalistic colour opposition of yellow-blue/violet which characterized the Impressionist colour, Matisse began to exploit the more abstract, and... vibrant, oppositions of red-green. Because red and green colours are the closest in tone of all the complementary colour pairs, they set up a dazzling sensation which gives its own light and brilliance, without any direct imitation of natural effects of light. Thus the properties of colour itself, and the interactions of colour... were the basis of Matisse's mature art. Colour no longer stood for, or symbolized, anything external to painting itself; it was colour as colour."

"Civilization is an active deposit which is formed by the combustion of the Present with the Past. Neither in countries without a Present nor in those without a Past is it to be encountered. Proust in Venice, Matisse's birdcages overlooking the flower market at Nice, Gide on the seventeenth-century quais of Toulon, Lorca in Granada, Picasso by Saint-Germain-des-Prés: there lies civilization and for me it can exist only under those liberal regimes in which the Present is alive and therefore capable of assimilating the Past."

"Picasso is taking Cézanne's elements — the cone, cylinder and sphere — into Cubism. Matisse is taking Cézanne's interest in the wholeness and the clarity of figures. They're taking almost opposite interpretations of what they see in Cézanne: Picasso is understanding it as decomposition, and Matisse is understanding it as composition."

"Matisse... had first studied law and then spent [six] years as an art student... In the years following the 1900 World's Fair he struggled with poverty ...and with a good deal of public indifference toward his work. During that time, he worked his way through the different modes of vision employed in nineteenth-century avant-guard painting, starting with the impressionists and then moving on to Seurat, van Gogh, Gauguin, and especially Cézanne, who was to remain the greatest and longest-lasting source of inspiration to him. As early as 1899, Matisse made great sacrifices in order to buy a small but powerful Cézanne, Three Bathers, and he was the first of the younger avant-guard artists to absorb the radically new kind of pictorial thought that Cézanne's painting embodied. Cézanne was... Matisse said, "a sort of god of painting.""

"As Picasso began to occupy the territory of Cézanne, Matisse seemed to be moving closer to the legacy of van Gogh and Gauguin... pushed to find a new and different way of dealing with the fluidity and dynamism... in Cézanne... by turning even more intensely toward the decorative. During most of 1908... Matisse continued to work with flat forms and to explore the inherent ambiguities of the pictorial field—especially... the sensation of limitless space and to have... the background become... more important than the figures it contained. Since childhood he had loved textiles, and he had an acute understanding of the possible symbolic uses for decorative patterns—as in van Gogh's portraits of Madame Roulin as "La Berceuse," in which the floral pattern... becomes a metaphor for her vitality and fertility. Matisse's use of decorative patterning also provided... another way of holding emotion at arm's length while maintaining its intensity. It allowed... a pictorial space... sufficiently open and imaginative to incorporate a... range of contrasting visual rhythms... to evoke different... perceptual sensations. Such a fluid and open space enabled him to invest everyday subjects with... spirituality."

"The more Matisse's body failed, the more he responded by inventing a mythic youthfulness that he could inhabit in his art. For Matisse, the first rule was to keep his art separated from the literal representation of the feelings behind it, to channel and redirect his emotions into imagery that transcended the raw stuff of life."

"I took a dislike to Matisse," the artist of the wealthy. The red paint of his canvases fizzes like soda water. He has not experienced the joy of ripening fruits. His mighty brush does not heal the vision, but offers it the strength of an ox, so that your eyes become bloodshot. I've had enough of his carpet chess and odalisques! Persian whimsies of a Parisian Maître!"

"Matisse's paintings were full of joy. He said he painted for tired businessmen, right? You know, like the goldfish bowl and the happy dancers on the green lawn with the cobalt blue sky, you know, the orange nudes? You know, for the most part, it's all very joyous. That's kind of what I was trying to say, you know. That's the kind of paintings that I like."

"When Matisse died, he left me his Odalisques 'as a legacy', he proclaimed."

"Matisse makes a drawing, then he makes a copy of it. He recopies it five times, ten times, always clarifying the line. He's convinced that the last, the most stripped down, is the best, the purest, the definitive one; and in fact, most of the time, it was the first. In drawing, nothing is better than the first attempt."

"You have got to be able to picture side by side everything Matisse and I were doing at that time. No one has ever looked at Matisse's painting more carefully than I; and no one has looked at mine more carefully than he."

"Matisse said, you have to read between the lines. When he would stop a line, say, at the ear, and beginning it again at the neck, he was really exercising the viewer's mind to fill in the blanks."

"Though produced by a very old man, who was mortally ill, they seem to come from the springtime of the world."

"Years later he [ Picasso ] would tell the French writer [w:André Malraux|André Malraux] of something else that shaped his Demoiselles [made in Paris, June-July 1907]. Matisse had shown him an African statue he'd bought. Then Picasso went to the dingy ethnographic museum in Paris, the 'Trocadero', with its collection of primitive artifacts. It smelled like a flea market, but it opened his eyes to the magic of masks and fetishes. 'If you give spirits a shape, you break free from them', he said, [and]: 'Suddenly.. .I grasped why I was a painter. All alone in that museum, surrounded by masks, Red Indian dolls, dummies covered with dust. The Demoiselles must have come that day.. ..because it was my first exorcising picture.'"

"Our musical alphabet is poor and illogical. Music, which should pulsate with life, needs new means of expression, and science alone can infuse it with youthful vigor. Why, Italian Futurists, have you slavishly reproduced only what is commonplace and boring in the bustle of our daily lives. I dream of instruments obedient to my thought and which with their contribution of a whole new world of unsuspected sounds, will lend themselves to the exigencies of my inner rhythm."

"Everyone is born with genius, but most people only keep it a few minutes."

"Contrary to general belief, an artist is never ahead of his time but most people are far behind theirs. I was the first composer to explore, so to speak, musical outer space."

"I was not influenced by composers as much as by natural objects and physical phenomena. As a child, I was tremendously impressed by the qualities and character of the granite I found in Burgundy, where I often visited my grandfather...So I was always in touch with things of stone and with this kind of pure structural architecture — without frills or unnecessary decoration. All of this became an integral part of my thinking at a very early stage."

"There is an idea, the basis of an internal structure, expanded and split into different shapes or groups of sound constantly changing in shape, direction, and speed, attracted and repulsed by various forces. The form of the work is a consequence of this interaction. Possible musical forms are as limitless as the exterior forms of crystals."

"I am surrounded by a small group of young s who will be very happy get to know you. Besides, they are real painters... I find myself very well fixed here. I am drawing figures at hard. And at the Academy, there are only landscapists. They begin to perceive that it's a good thing."

"Among Troyon's paintings there are two huge ones; Return to the Farm is marvelous with its beautiful stormy sky. There is much windy motion in the clouds, and the cows and dogs are very good. In Going to the Market you see the mist at sunrise. It's superb and, most of all, very luminous. The wide space in View from Surennes is amazing. You feel you are really in the countryside."

"'..learn to draw: that's where most of you [Troyon's pupils] are falling down today.. ..draw with all your might; you can never learn too much. However, don’t neglect painting, go to the country from time to time and make studies and above all develop them..' [Monet is quoting in his letter Troyon, a friend of Boudin in Paris]"

"By way of news, I can tell you that Couture, that bad-tempered fellow, has completely given up painting. It's no great pity; in this exhibition, he had some really bad paintings."

"It is beautiful here [in , Normandy], my friend; every day I discover even more beautiful things. It is intoxicating me, and I want to paint it all - my head is bursting.. ..I want to fight, scratch it off, start again, because I start to see and understand. I seems to me as if I can see nature and I can catch it all.. ..it is by observation and reflection that I discover how. That is what we are working on, continuously.."

"My dear Frédéric Bazille, I ask myself what you can be doing in Paris during fine weather, for I suppose that it must also be very fine there. Here my dear fellow, it is is charming, and I discover every day always beautiful things. It is enough to become mad [fou], so much do I have the desire to do it all, my head is cracking. Damn it, here it is the sixteenth, put aside your cliques and your claques, and come spend a couple of weeks here, it would be the best thing that you could do, because in Paris it cannot be very easy to work. This very day, I still have a month to stay in ; furthermore my sketches are becoming finished, I have even set to work additionally [remis] on some others. In sum, I am content enough with my stay here, even though my studies are very far from what I would wish. It is decidedly frightfully difficult to make something complete in all respects, and I think that there are scarcely any but those who content themselves with the approximate. Very well, my dear fellow, I want to struggle, scrape, start over again [recommencer], because one can do what one sees and understands, and it seems to me, when I see nature, that I am going to do it all, write it all out, but them go try to do it.. ..when one is on the job.. All this proves that one must only think about this. It is by force of observation and reflection that one finds. So let us grind away and grind away constantly. Are you making any progress? Yes, I am sure of it, but what I am sure of is that you do not work enough and not in the right way. It is not with carefree guys like your Villa and others that you will be able to work. It would be better all alone, and yet, all alone there are plenty of things that one cannot make out. In the end all of this is terrible, and it is a rough task. .. .It is frightening what I see in my head."

"It seems to me, when I see nature, that I see it ready made, completely written — but then, try to do it! All this proves that one must think of nothing but them [impressions]; it is by dint of observation and reflection that one makes discoveries."

"There at the moment in .. .Boudin and Jongkind are here; we get on marvelously. There's lots to be learned and nature begins to grow beautiful.. .I shall tell you I'm sending a flower picture to the exhibition at Rouen; there are very beautiful flowers at present."

"One is too taken up with all that one sees and hears in Paris, however strong one is, and what I do here will at least have the merit of being unlike anyone else, at least I believe so, because it will simply be the expression of what I, and only I have felt. The further I get, the more I regret how little I know, that's what hinders me the most.. .I don't think I will spend much time in Paris now, a month at the very most, each year."

"In Paris one is too preoccupied by what one sees and what one hears, however strong one is; what I am doing here has, I think, the merit of not resembling anyone, because it is simply the expression of what I myself have experienced."

"I'm very happy, very delighted.. ..for I am surrounded here by all that I love. I spent my time out of doors.. ..and naturally I'm working all the time, and I think this year I'm going to do some serious things. And then in the evening, dear fellow, I come home to my little cottage to find a good fire and a dear little family.. .Dear friend, it's a delight to watch this person [his first son Jean, born in 1867] grow, and I am glad to have him to be sure..."

"[Chopping wood] is harder than you think, and I'll bet that you would not split much wood.. .All the same, I have probably not reached the end of my troubles. Here is winter at hand, a season not very pleasant for the wretched. Then comes the Salon. Alas! I still won't be in it, for I shall have done nothing. I have a dream a picture of the bathing spot at the Grenouillere, for which I've made a few poor sketches, but it is a dream. Renoir, who has just spent two months here, also wants to do this painting."

"is particularly remarkable and there is enough here to paint for a life-time."

"My dear Pissarro, Forgive me for not answering your first letter earlier, but I 'm starting to work full steam ahead and have hardly any time. I received your second letter this morning and I see that you are going to great pains on my behalf and getting nowhere: I'm sorry to be giving you so much trouble; so drop the whole thing, and I'll ask Durand-Ruel if he could see to it for me, he might be able to get rid of these damn frames. I see that you are definitely going to leave that delightful country for good. Where are you going to, Paris or Louveciennes? I hope you'll write and let me know..."

"There are the most amusing things everywhere [in The Netherlands]. Houses of every colour, hundreds of windmills and enchanting boats, extremely friendly Dutchmen who almost all speak French... .I have not had time to visit the museums, I wish to work first of all and I'll treat myself to that later."

"A group of painters assembled in my home, read with pleasure the article you published in 'L'Avenir national'. We are all very pleased to see you defend ideas which are also ours, and we hope that, as you say, 'L'Avenir national' will kindly lend us its support when the Society we are in the process of forming is finally established."

"I've got it.. .the Saint Lazare[train-station in Paris, then. I'll show it just as the trains are starting, with smoke from the engines so thick you can hardly see a thing. It's a fascinating sight, a real dream. I'll get them [the station office] to delay the train for Rouen for half an hour. The light will be better then."

"My dear Hoschedé, I do not know if in Paris it is the same weather as here, it is probable and so you will be able to understand my discouragement. I am heartbroken, and I absolutely must share with you all my disillusionment; for nearly two months, I have given myself a lot of trouble without result. You do not believe it perhaps, but it is so: I have not lost an hour and would have reproached myself to have taken even a day to come see our exhibition, just out of the fear of losing a single good painting session, an hour of sun. I alone can know my anxieties and the trouble that I give myself to finish canvases that don't even satisfy me and please so few people. In a word, I am absolutely discouraged, not seeing, not hoping in any future.. .I feel all too well the void that is being made around me and the impossibility of facing up to my part of our expenses if we were to continue living together.. .I see everything in black, in pain.. .Please believe all the sorrow that I have in causing you trouble."

"[looking at the dead body of his first wife Camille, 5 Sept 1879], watching her tragic forehead, almost mechanically observing the colors which death was imposing on her rigid face. Blue. Blue, yellows, grey, what do I know?.. .How natural to to want to reproduce the last image of her, who was leaving us for ever.But even before the idea came to me to record her beloved features, something in me automatically responded tot the shocks of colours. I just seem to be compelled in an unconsciousness activity, the one I engage in every day, like an animal turning in its mill."

"I am absolutely sickened with and demoralized by this life, I've been leading for so long. When you get to my age, there is nothing more to look forward to. Unhappy we are, unhappy we'll stay. Each day brings its tribulations and each day difficulties arise.. .So I'm giving up the struggle once and for all, abandoning all hope of success.. .I hear my friends are preparing another exhibition this year [the Impressionists, in Paris, 1880] but I'm ruling out the possibility of participating in it, as I just don't have anything worth showing."

"I can't hold out any longer and am in a state of utter despair. After a few days of good weather, it's raining again and once again I have had to put the studies I started to one side. It's driving me to distraction and the unfortunate thing is that I take it out on my poor paintings. I destroyed a large picture of flowers which I'd just done along with three or four paintings which I not only scraped down but slashed. This is absurd.. .Please be kind enough to have some money forwarded to me."

"The sea is superb, but the cliffs don't match up to those at Fecamp. Here I'll be certain to do more boats."

"I won't be here long, I am working as hard as I can, as I told you [in a letter] yesterday, I am very happy to be here Etretat, Normandy] and I hope to come up with something good, in any case I will bring lots of studies back with me so I can work on some big things at home."

"Once settled, I hope to produce masterpieces, because I like the countryside very much."

"I insist upon 'doing it alone'. Much as I enjoyed making the trip there with Renoir as a tourist, I'd find it hard to work there together. I have always worked better alone and from my own impressions.. .If he Renoir knew I was about to go, Renoir would doubtless want to join me and that would be equally disastrous for both of us."

"These palms are driving me crazy; the motifs are extremely difficult to seize, to put on canvas; it's so bushy everywhere, although delightful to the eye.. .I would like to do orange and lemon trees silhouetted against the blue sea, but cannot find them as I would like."

"I climb up, go down again, then climb up once more; between all my studies, as a relaxation I explore every footpath, always curious to see something new."

"I hired a good carriage and had myself driven to Menton, a delightful outing of several hours. Menton is wonderful and is in a splendid setting. I walked to Cap Martin, a famous spot between Menton and Monte Carlo. I saw two motifs there that I want to paint because they are so different from things here, where the sea plays no big part in my studies, where the sea plays no big plays no big part in my studies."

"[While working beneath the cliff at Manneport, Normandy] I didn't see a huge wave coming; it threw me against the cliff and I was tossed about in its wake along with all my materials! My immediate thought was that I was done for, as the water dragged me down, but in the end I managed to clamber out on all fours, but Lord, what a state I was in! My boots, my thick stockings and my coat were soaked through. The palette which I had kept a grip on had been knocked over my face and my beard was covered in blue, yellow etc. But anyway, now the excitement is passed and no harm's done, the worst of it was that I lost my painting which was very soon broken up, along with my easel, bag etc. Impossible to fish anything out. Besides, everything was torn to shreds by the sea, that "old hag" as you sister calls her."

"I am weary, having worked without a break all day; how beautiful it is here, to be sure, but how difficult to paint! I can see what I want to do quite clearly but I'm not there yet. It's so clear and pure in its pink and blues that the slightest misjudged stroke looks like a smudge of dirt.. .I have fourteen canvases underway."

"Did you know that I went to London to see Whistler and that I spent about twelve days, very impressed by London and also by Whistler, who is a great artist; moreover, he could not have been more charming to me, and has invited me to exhibit at his show."

"I am working from morning to evening, brimming with energy.. I'm fencing and wrestling with the sun. And what a sun it is! In order to paint here, one would need gold and precious stones. It is quite remarkable."

"I am distressed, almost discouraged, and fatigued to the point of slightly ill.. .Never have I been so unlucky with the weather. Never three suitable days in succession, so I have to be always making changes [in his paintings] for everything is growing and turning green. And I have dreamed of painting the Creuse [river in the South of France] just as we saw it.. .In short, by dint of changes I am following Nature without being able to grasp her, and then there is that river that shrinks, swells again, green one day, then yellow, sometimes almost dry, and which tomorrow will be a torrent, after the terrible rain that is falling at the moment. In fact, I am very worried. Write to me; I have a great need of comfort."

"I was completely ignorant of the poetry of Poe; it is admirable, it is poetry itself, the dream, and how one feels that you have translated its soul! I am no more than a completely illiterate ignoramus, but am not any the less moved by it. I knew only Poe's prose, which I had read and admired very young before I had heard it spoken of, but how your poems complete and express the man he was"

"I have gone back to some things that can't possibly be done: water, with weeds waving at the bottom. It is a wonderful sight, but it drives one to crazy to try to paint it. But that is the kind of thing I am always a tackling."

"I am in a very black mood and profoundly disgusted with painting. It really is a continual torture! Don't expect to see anything new, the little I did manage to do has been destroyed, scraped off, or torn up. You've no idea what appalling weather we've had continuously these two past months. When you're trying to convey the weather, the atmosphere and the general mood, it's enough to make you mad with rage."

"For me, a landscape does not exist in its own right, since its appearance changes at every moment; but the surrounding atmosphere brings it to life - the air and the light which vary continually. For me, it is only the, surrounding atmosphere which gives subjects their true value."

"You know the affection I have always had for you Boudin and also the gratitude. I have never forgotten that you were the first who taught me to see and to comprehend."

"I am working as hard as I possibly can, and do not even dream of doing anything except the cathedral. It is an immense task."

"I tell myself that anyone who says he has finished a canvas is terribly arrogant. Finished means complete, perfect, and I toil away without making any progress, searching, fumbling around, without achieving anything much."

"I hope that Cezanne will still be here and that he will join us, but he is so shy, so afraid of meeting new people, that I am afraid that he might let us down, even though he wants very much to meet you. How sad it is that this man hasn't had more patronage in his life! This is a true artist who has come to doubt himself far too much. He needs to be cheered up, so e was quote touched by your article."

"I have at last found a suitable spot and settled her. I have already spend a few days working and started eight canvases, which I hope, if the weather favours me, will give an idea of Norway and the environs of Christiania.. .This morning I was painting under constant falling snow. You would have burst out laughing seeing me white all over, my beard overgrown with icicles."

"I have not been able to see a bit of sea or any water at all; everything is frozen and covered with snow."

"To me the motif itself is an insignificant factor; what I want to reproduce is what lies between the motif and me.. .Other painters paint a bridge, a house, a boat.. .I want to paint the air in which the bridge, the house and the boat are to be found - the beauty of the air around them, and that is nothing less than the impossible."

"Ninety percent of the theory of Impressionist painting is in.. ..Ruskin's Elements."

"I've never seen such changeable conditions and I had over 15 canvases under way, going from one to the other and back again, and it was never quite right; a few unfortunate brushstrokes and in the end I lost my nerve and in a temper I packed everything away in crates with no further desire to look out of the window, knowing full well that in this mood I'd only mess things up and all the paintings I'd done were awful, and perhaps they are, more than I suppose."

"I could not appreciate his [ Boudin ] paintings and when he offered to take me with him to paint outdoors in the open countryside, I always found a pretext and refused politely. But when summer came, I was more or less free to dispose of my time as I wished and I had no feasible excuse left to give him and gave in. Thus it was, that Boudin - with his inexhaustible kindness - took it upon himself to educate me. With time, my eyes began to open and I really started to understand nature. I also learned to love it. I would analyze its forms with my pencil. I would study its colorations."

"Did not Troyon tell me to enter the studio of Couture [in Paris]? It is needless to tell you how decided was my refusal to do so. I admit even that it cooled me, temporarily at least, in my esteem and admiration of Troyon.. ..and [I] after all, connected myself only with artists who were seeking."

"The following week, when he Toulmouche passed in front of me, he sat down and squarely positioned on my chair, looked at my piece. I could then see him turn around, inclining his serious face with a satisfied air and I heard him say to me while smiling: "Not bad, not at all bad this, but it is too much like the real model. You have a stocky man and you depict him as stocky.. .Nature, my friend, serves well as a means to study but offers no real interest. Style is the only thing that matters." I was flabbergasted. The truth, life, nature - all that provoked emotions in me - all that constituted for me the real essence and the unique "raison d'être" of art, did not exist for this man!"

"Jongkind.. ..his painting was too new and far too artistic to be appreciated in 1862 at his prices. Moreover, no one was as bad at making himself valued, as he was. He was a straight-forward and simple kind of man, who could hardly speak bad French and was very shy. But he was very outgoing that day. He asked to see my sketches, invited me to come and work with him, explained the whys and wherefores underlining his work and thereby, completed the training that I had already received from Boudin. He became from this moment my true master and it [is] to him, that I owe the definitive training of my eyes."

"It was not until 1869 that I met him Manet again, but this time, we became friends immediately. From the first meeting, he invited me to join him every evening in a café of the 'Batignolles' where he and his friends would gather to talk at the end of a day spent at their studios. I would meet there, Fantin-Latour and Cézanne, Degas - who arrived shortly afterwards from Italy, the art critic Duranty, Emile Zola who was just starting-off in the literary world and a number of others. I would take Sisley, Bazille and Renoir. There was nothing more interesting than these discussions with their perpetual differences of opinion. Our mind and souls were stimulated.. .One would always leave, all the better immersed, the will stronger, our thinking more defined and clear."

"..but what a pity that I did not come here [in Venice] when I was younger and more adventurous."

"It's quite beyond my powers at my age, and yet I want to succeed in expressing what I feel."

"Since the appearance of Impressionism, the official salons, which used to be brown, have become blue, green, and red.. .But peppermint or chocolate, they are still confections."

"Nothing in the whole world is of interest to me but my painting and my flowers."

"Colours no longer looked as brilliant to me as they use to do [Monet's sight was beginning to fail], I no longer painted shades of light so correctly. Reds looked muddy to me, pinks insipid, and the intermediate or lower notes in the colour scale escaped me. As for forms, I could see them as clear as ever, and render them as decisively. At first I tried pertinacity. How many times I have remained for hours near the little bridge, exactly were we are now, in the full glare of the sun, sitting on my camp-stool, under my sunshade, forcing myself to resume my interrupted task and to recapture the freshness my palette had lost! A waste of effort. What I painted was more and more mellow.. ..and (when) I compared it with what I used to do in the old days. I would fall into a frantic rage, and I slashed all my pictures with my penknife."

"Though I remained insensitive to the subtleties and delicate gradations of colour.. ..my eyes at least did not deceive me when I drew back and looked at the subject in its broad lines, and this was the starting-point of new compositions.. .Slowly I tried my strength in innumerable rough sketches which convinced me.. .I could see as clearly as ever when it came to vivid colours isolated in a mass of dark tones. How was I to put this to use? My intentions gradually became clearer.. .I said to myself, as I made my sketches, that a series of general impressions, captured at the times of day when I had the best chance of seeing correctly, would not be without interest. I waited for the idea to consolidate, for the grouping and composition of the themes to settle themselves in my brain little by little, of their own accord; and the day when I felt I held enough cards to be able to try my luck with a real hope of success, I determined to pass to action, and did so."

"I'm very sorry to inconvenience you [ the art dealers G. and J. Berheim-Jeune ], but I find it impossible to supply you with any more Venice pictures. It was useless trying to persuade my self otherwise, the work that's left is too poor for exhibition. Don't insist.. .I've enough good sense in me to know whether what I'm doing is good or bad, and it' utterly bad, and I can't believe that people of taste, if they have any knowledge at all, could see any value in it. Things have been dragging on like this for far too long.."

"You'll understand... that I'm chasing the merest sliver of color. It's my own fault, I want to grasp the intangible. It's terrible how the light runs out, taking color with it. Color, any color, lasts a second, sometimes three of four minutes at the most."

"I can no longer work outside because of the intensity of the light."

"I see less and less.. .I need to avoid lateral light, which darkens my colors. Nevertheless, I always paint at the times of day most propitious for me, as long as my paint tubes and brushes are not mixed up.. ..I will paint almost blind, as Beethoven composed completely deaf."

"It took me a long time to understand my water lilies.. .I planted them for pleasure, and grew them without thinking of painting them.. You don't absorb a landscape in a day.. .And then, all of a sudden, I had the revelation of the enchantment of my pond. I took up my palette."

"Color is my day-long obsession, joy and torment. To such an extent indeed that one day, finding myself at the deathbed of a woman who had been and still was very dear to me, I caught myself in the act of focusing on her temples and automatically analyzing the succession of appropriately graded colors which death was imposing on her motionless face."

"I was thinking of preparing my palette and my brushes to resume work, but relapses and further bouts of pain prevented it. I'm not giving up that hope and am occupying myself with some major alterations in my studios and plans to perfect the garden [in Giverny ]. All this to show you that, with courage, I'm getting the upper hand. [three months before Monet died]"

"My only merit lies in having painted directly in front of nature, seeking to render my impressions of the most fleeting effects, and I still very much regret having caused the naming of a group whose majority had nothing impressionist about it."

"Impressionism is only direct sensation. All great painters were less or more impressionists. It is mainly a question of instinct, and much simpler than Sargent thinks. But he went on to agree that impressionists had noted how strong"

"I was born undisciplined. Never, even as a child, could I be made to obey a set rule. What little I know I learned at home. School was always like a prison to me, I could never bring myself to stay there, even four hours a day, when the sun was shining and the sea was so tempting, and it was such fun scrambling over cliffs and paddling in the shallows. Such, to the great despair of my parents, was the unruly but healthy life I lived until I was fourteen or fifteen. In the meantime I somehow picked up the rudiments of reading, writing and arithmetic, with a smattering of spelling. And there my schooling ended. It never worried me very much because I always had plenty of amusements on the side. I doodled in the margins of my books, I decorated our blue copy paper with ultra-fantastic drawings, and I drew the faces and profiles of my schoolmasters as outrageously as I could, distorting them out of all recognition."

"I started selling my portraits. Sizing up my customer, I charged ten or twenty francs a caricature, and it worked like a charm. Within a month my clientele had doubled. Had I gone on like that I'd be a millionaire today. Soon I was looked up to in the town, I was 'somebody'. In the shop-window of the one and only frame-maker who could make out a livelihood in Le Havre, my caricatures were impudently displayed, five or six abreast, in beaded frames or behind glass like very fine works of art, and when I saw troops of bystanders gazing at them in admiration, pointing at them and crying 'Why, that's so-and-so!', I was just bursting with pride."

"I didn't become one.. .As long as I can remember I've always been one."

"I felt the need, in order to widen my field of observation and to refresh my vision in front of new sights, to take myself away for a while from the area where I was living, and to make some trips lasting several weeks in , and elsewhere.."

"One day Eugène Boudin said to me, '..appreciate the sea, the light, the blue sky'. I took his advice and together we went on long outings during which I painted constantly from nature. This was how I came to understand nature and learned to love it passionately."

"I'm half an hour late, I'll come back tomorrow."

"a remark of Monet, quoted by Ambroise Vollard, as quoted in Discovering Art, – The life time and work of the World’s greatest Artists, MONET; K.E. Sullivan, Brockhamptonpress, London 2004, p. 44"

"[about his friend Monet, in 1865] ..hard at work for some time now. His paintings has really progressed, I'm sure it will attract a lot of attention. He has sold thousands of franc's worth of paintings in the last few days, and has one or two other small commissions. He's definitely on his way."

"If I did not know how unhappy you are, I certainly would not take the trouble to respond to the letter that reached me this morning. You try to demonstrate to me that I don’t keep my promises, but you have only succeeded in proving to me your ingratitude. As far as I know I had never had the air to give you charity. I know to the contrary, better than everyone, the value of the painting that I have purchased [ Monet's painting 'Woman in the garden' - purchased by Bazille] and I very much regret not being wealthy enough to offer you better conditions (WPJ 15)"

"But what an eye Monet has, the most prodigious eye since painting began! I raise my hat to him. As for Courbet, he already had the image in his eye, ready-made. Monet used to visit him [Courbet], you know, in his early days.. ..But a touch of green, believe me, is enough to give us a landscape, just as a flesh tone will translate a face for us.."

"Monet's cliffs (in Etretat) will survive as a prodigious series, as will a hundred others of his canvases.. ..He'll be in the Louvre, for sure, alongside Constable and Turner. Damn it, he's even greater. He painted the iridescence of the earth. He's painted water. Remember those Rouen cathedrals (series of paintings of Monet of the Cathedral of Rouen).. .But where everything slips away in these pictures of Monet's, nowadays we must insert a solidity, a framework.."

"Unfortunately, the realization of my sensations is always a very painful process with me. I can't seem to express the intensity which beats in upon my senses. I haven’t at my command the magnificent richness of color which enlivens Nature.. .Look at that cloud; I should like to be able to paint that! Monet could. He had muscle."

"I said to him [to Monet, when Degas saw in 1866 for the first time Monet's landscape paintings]: 'I am off, all these 'reflets d'eaux' are making my eyes hurt'.. ..It was full of draughts; a few more and I'd have pulled the collar of my jacket up."

"There's no doubt but that without this liberté, égalité and fraternité there could not have been a Monet, Modigliani, Picasso, or Giacometti."

"The Bridge at Argenteuil... is one of the best examples of early mature Impressionism, in which the brushwork varies according to the image being created: blended mixtures for clear water, choppy aggregates for reflections, wide, dragged horizontals for boat hulls, streaky verticals for masts, finely bunched diagonals and swirls for foliage, curved and irregular dabs for clouds. These different marks are also of varied thickness. The smoother ones for sky and water are so thin as to have negligible substance, but the boats, trees, clouds, and multicolored reflections have substantial impasto. In front of the original painting... the viewer unconsciously lets the thicker strokes confer a fictitious "reality" on their images, compared to the insubstantiality of water and sky. Before Impressionism, painters had varied the direction and texture of their brushwork according to the images they defined, but for Monet these manipulations... were even more vital, because he had renounced the traditional underpinnings of modeling in light and dark. ...[T]he representation of leisure was the result of hard work."

"I thought that the painter had no right to paint so un-clearly.. ..(but) the first faint doubt as to the importance of an 'object' as the necessary element in painting.. [ Kandinsky is remembering here his early experience when he saw one of the 'Haystack' paintings of Monet for the first time in his life, in Moscow, c. 1895]."

"My dear Duret, I went to see Monet yesterday. I found him heart-broken and completely on the rocks. He asked me to find him someone who would take from ten to twenty of his paintings at their choice, for 111 fr. apiece. Shall we do it between us, making 500 fr. each? Naturally, no one, least of all he, must know that it is we who are doing it..."

"..[enabled] to touch the core, the essence of things. Even in as simple a subject, a great painter can achieve a majesty of vision and an intensity of feeling to which we [the viewer] immediately respond. [quote, c. 1937, referring to a still life by Cezanne and a river-sight with sandbank by Claude Monet he then saw at an exhibition]"

"Monet is also a great romantic; I love the romance in his work."

"I received a letter from Monet, who is in despair because he has not succeeded with the canvases on which he worked most furiously, as happened with those I did at Gisors. - My work is going better, but I am only beginning."

"Monet has been to Durand [their art-dealer in Paris] and brought the paintings he did this year [1886]; he has one in bright sunlight, it is an incomprehensible fantasy; M. Caseburne himself admitted to me that it is absolutely incoherent, blobs of white mixed with Veronese greens and yellows, and the drawing is completely lost. The other canvases are more carefully done, better, but dark grey. My 'Eragny' has more calm, and you can see in this painting the advantage of unmixed colors and clear and solid draftsmanship. I assure you I would not be afraid to show my work with Monet's. Durand says that Monet pities me because of the course I have taken [following [[w:Pointillism|Pointillism].]] So!.. .Perhaps he does, now.. ..but wait. M. Robertson [good client of Durand in the gallery] being insensitive to Monet's qualities, Durand asked me to explain to him, in English, the good points of Monet's work. I did my best, loyally and without hesitation, for despite his mistakes I know how gifted is this artist [Monet]; but M. Robertson can't stand his work: 'And who painted this horror?'"

"I say this: Monet plays his salesman's game, and it serves him; but it is not in my character to do likewise, nor is it to my interest, and it would be in contradiction above all to my conception of art. I am not a romantic! I would really have no raison d'etre, if I did not pursue a considered technique which yet leaves me free to express myself, and does not inhibit an artist who has the gift."

"..tell me whether she [Pissarro's wife] did not find Monet's things a little too dark? [Monet's paintings at the Paris exhibition, at M. Petit, May 1887]. I do not know whether I am correct in this, but these works seem to me to lack luminosity, by which I mean the light that bathes bodies in the shade as well as those in the sun. The effect is certainly decorative, but there is little finesse and crudities are prominent; I do not know if it belongs to our vision which aspires to harmony and demands an art which while not decoration is yet decorative."

"He [ Bracquemond ] also noted the crude execution in some of the Monet's [paintings at the Paris Impressionism-exhibition at M. Petit, May 1887], particularly in one of the Holland canvases [Monet painted them in May 1876], in which the impasto is so thick that an unnatural light is added to the canvas, you can hardly conceive how objectionable it is to me, - even worse is the swept and meager sky - no, I [ Camille Pissarro ] cannot accept this approach to art. - But the walls in the picture seem to me very well treated."

"This is a bad moment for me, Durand doesn't take my paintings. Miss Cassatt was much surprised to hear that he no longer buys my work, it seems that he sells a great deal. - But for the moment people want nothing but 'Monet's', apparently he can't paint enough pictures to meet the demand. Worst of all they all want 'Sheaves in the Setting Sun'! always the same story, everything he does goes to America at prices of four, five and six thousand francs. All this comes, as Durand remarked to me, from not shocking the collectors!"

"I saw yesterday; he sends you [Pissarro's son Lucien] his best. He mentioned that Monet was going to have a one-man show at Durand-Ruel's, and exhibit nothing but Sheaves. The clerk at Boussod & Valadon told me that the collectors want only Sheaves. I don't understand how Monet can submit to this demand that he repeat himself — such is the terrible consequence of success! It happens all the time!"

"At Argenteuil [where Monet had built a little wooden cabin on his studio-boat], Renoir] and Monet resumed their old habit of painting the same views, seated side by side. Life was beginning to change for the better; 1872 seemed to be a year not only for recovery [from the war years] but also for putting down roots."

"Transport these Mornings on the Seine, Wheatstacks, and Cathedrals around the world and no matter where these paintings will be, the spectator will admire and envy a country where the hand of man built such monuments in the middle of such beautiful sites. Glory thus to the artist, who with the aid of a few lines and some dashes of color can so grandly synthesize the land where he lives."

"Francesco Filippini"

"We are all just cogs in a machine, doing what we were always meant to do, with no actual volition. (1770)"

"It is thus superstition infatuates man from his infancy, fills him with vanity, and enslaves him with fanaticism."

"If the ignorance of nature gave birth to such a variety of gods, the knowledge of this nature is calculated to destroy them."

"When we examine the opinions of men, we find that nothing is more uncommon, than common sense; or, in other words, they lack judgment to discover plain truths, or to reject absurdities, and palpable contradictions."

"Savage and furious nations, perpetually at war, adore, under diverse names, some God, conformable to their ideas, that is to say, cruel, carnivorous, selfish, blood-thirsty."

"All children are born Atheists; they have no idea of God."

"Pascal proves nothing in favour of Religion, unless that a man of genius may be foolish on some subjects, and is but a child, when he is weak enough to listen to his prejudices."

"Religion has ever filled the mind of man with darkness, and kept him in ignorance of his real duties and true interests. It is only by dispelling the clouds and phantoms of Religion, that we shall discover Truth, Reason, and Morality. Religion diverts us from the causes of evils, and from the remedies which nature prescribes; far from curing, it only aggravates, multiplies, and perpetuates them."

"Suns are extinguished or become corrupted, planets perish and scatter across the wastes of the sky; other suns are kindled, new planets formed to make their revolutions or describe new orbits, and man, an infinitely minute part of a globe which itself is only an imperceptible point in the immense whole, believes that the universe is made for himself."

"Now, if the ignorance of nature gave birth to Gods, the knowledge of nature is calculated to destroy them."

"Everything that passes in the world, proves to us, in the clearest manner, that it is not governed by an intelligent being."

"The universe can be only what it is; all sensible being there enjoy and suffer, that is, are moved sometimes in an agreeable, and sometimes in a disagreeable manner. these effects are necessary; they result necessarily from causes, which act only according to their properties."

"To wonder at the order of nature, is to wonder that any thing can exist; it is to be surprised at one's own existence."

"There is a science that has for its object only things incomprehensible. Contrary to all other sciences, it treats only of what cannot fall under our senses, Hobbes calls it the kingdom of darkness. It is a country, where every thing is governed by laws, contrary to those which mankind are permitted to know in the world they inhabit. In this marvelous region, light is only darkness; evidence is doubtful or false; impossibilities are credible: reason is a deceitful guide; and good sense becomes madness. This science is called Theology, and this theology is a continual insult to this reason of man."

"The worshipers of God find, above all in the order of the universe, an invincible proof of this existence of an intelligent and wise being, who governs it. But this order is nothing but a series of movements necessarily produced by causes or circumstances, which are sometimes favourable, and sometimes hurtful to us: we approve of some, and complain of others."

"a protestant is bound to believe the gospel to be divine: and the examination of it is permitted only, while he finds there what the ministers of his sect have resolved that he shall find. Beyond this, he is regarded as an ungodly man, and often punished for the weakness of his intellect."

"Jesus, with a view, no doubt, of sweetening the lot of his apostles, recommended compassion to the listening multitude, of which he, as well as his party, stood in the greatest need. It is readily perceived, that the messiah felt the most imperious necessity to preach charity to his auditors; for he lived on alms, and his success depended on the generosity of the public, and the benefactions of the good souls who hearkened to his lessons."

"The preacher recommended peace and concord; dispositions necessary to a new born, weak, and persecuted sect; but this necessity ceased when this sect had attained strength enough to dictate the law."

"We are quite surprised at finding, that Moses and the ancient Hebrew writers have no where mentioned the dogma of a future life, which now-a-days forms one of the most important articles of the Christian religion. Solomon speaks of the death of men by comparing it with that of brutes. Some of the prophets, it is true, have spoken of a place called Cheol, which has been translated Hell (Enfer); yet it is evident, that this word implies merely sepulchre or tomb. They have also translated the Hebrew word Topheth into Hell: but on examining the word, we find that it designates a place of punishment near Jerusalem, where malefactors were punished, and their carcases burned. It was after the Babylonish captivity that the Jews knew the dogma of another life, and the resurrection, which they learned of the Persian disciples of Zoroaster. In the time of Jesus, that dogma was not even generally received. The Pharisees admitted it, and the Sadducees rejected."

"Jesus, whose birth was very equivocal, had particular reasons for wishing that adultery should be treated with indulgence. Independently of Mary his mother, from whom Joseph was probably separated, our preacher had in his train dames, whose conduct had not been irreproachable anterior to their conversion. Besides Mary Magdalene, who was a noted courtesan, Jesus had in his suite Joanna, wife of Chuza, Herod's steward, who, according to the tradition, robbed and forsook her husband to follow the messiah, and assist him with her property. Moreover, the indulgence which he preached must have gained him the hearts of all the ladies in his auditory."

"the apostles, and especially their successors in the sacred ministry have, in preaching their gospel, brought on the world troubles and divisions unknown in all other preceding religions."

"Jesus charged people of property with the maintenance of his apostles. Their successors have taken sufficient advantage of this, and through it assumed an authority to exercise the most cruel extortions on impoverished nations."

"It must be acknowledged, that the impossibility of comprehending the doctrine of Jesus furnishes a good reason for denying that it can be divine. It cannot be conceived why a God, sent to instruct men, should never distinctly explain himself. No Pagan oracle employed terms more ambiguous, than the divine missionary chosen by Providence to enlighten nations."

"In the whole gospel system, the devil is more sly and powerful than both God the Father and God the Son: he is always successful in thwarting their designs, and succeeds in reducing God the Father to the dire necessity of making his dear Son die in order to repair the evil which Satan had done to mankind. Christianity is real manichaeism, wherein every advantage is on the side of the bad principle, who, by the great number of his adherents renders nugatory all the purposes of the Deity."

"Christians, docile to the lessons of their divine master, which they dare not examine, have made perfection consist in a total abandonment of those objects which nature has rendered dearest to man. Christianity seems intended only to create discord, detach men from every thing on earth, and break the ties which ought to unite them. There is, according to Jesus, but one thing needful; namely, to be attached to him exclusively: a maxim very useful in meriting heaven, but calculated to destroy every society on the earth."

"the miracles of the messiah were calculated to convince those only who did not [Pg 82]see them. Thus it is, that these miracles are believed at present by people who would not credit those performed in their presence."

"Jesus, to whom miracles cost nothing when every thing was arranged for performing them, did not risk himself by working them impromptu, or in the presence of those he judged acute enough to examine them."

"Jesus caused a fig-tree to die in twenty-four hours to punish it for not producing figs at a season when it was physically impossible for it to bear any; that is about the month of March. As all the actions of the messiah, even when they appear foolish to ordinary men, have an important signification in the eyes of devotees illuminated by faith, we ought to perceive in the miracle of this fig-tree one of the fundamental dogmas of the Christian religion symbolically represented. The fig-tree cursed is the mass of mankind, whom, according to our theologists, the God of mercy curses, and condemns to eternal flames, for having neither faith nor grace, which they could not possibly acquire of themselves, and which God does not seem to have been willing to give them. Thus we find that the ridiculous passage of the fig-tree in the gospel, is intended to typify one of the most profound dogmas of the Christian religion."

"the ways of God are not as those of men. The Deity ought never to act in a natural way, or be easily understood. It is the essence of religion that men should not comprehend any part of the divine conduct. This furnishes to their spiritual guides the pleasure of explaining it to them for their money."

"The dogma of the resurrection of Jesus is only attested by men whose subsistence depended on that absurd romance; and as roguery continually belies itself, these witnesses could not agree among themselves in their evidence. They tell us, that Jesus had publicly predicted his own resurrection. He ought therefore to have risen publicly; he ought to have shewn himself, not in secret to his disciples, but openly to priests, pharisees, doctors, and men of understanding, especially after having intimated, that it was the only sign which would be given them. Was it not acknowledging the falsehood of his mission, to refuse the sign by which he had solemnly promised to prove the truth of that mission? Was it reasonable to require the Jews to believe, on the word of his disciples, a fact which he could have demonstrated before their own eyes? How is it possible for rational persons of the present age to believe, after the lapse of eighteen hundred years, on the discordant testimonies of four interested evangelists, fanatics, or fabulists, a story which they could not make be believed in their own time; except by a small number of imbecile people, incapable of reasoning, fond of the marvellous, and of too limited understandings to escape the snares laid for their simplicity."

"The mere reading of the life of Jesus, as we have represented it according to documents which Christians consider inspired, must be sufficient to undeceive every thinking being. But it is the property of superstition to prevent thinking: it benumbs the soul, confounds the reason, perverts the judgment, renders doubtful the most obvious truths, and makes a merit with its slaves of despising inquiry, and of relying on the word of those who govern them."

"Men are naturally disposed to listen to, and believe those who make them hope for an end to their miseries. Misfortunes render them timorous and credulous, and lead them to superstition. A fanatic easily makes conquests among a wretched people. It is not then wonderful that Jesus should soon acquire partizans, especially among the populace who in every country are easily seduced."

"Our hero knew the weakness of his fellow-citizens. They wanted prodigies, and he, in their eyes, performed them. A stupid people, totally strangers to the natural sciences, to medicine, or to the resources of artifice, easily mistook very simple operations for miracles, and attributed effects to the finger of God which might be owing to the knowledge Jesus had acquired during the long interval that preceded his mission. Nothing is more common than the combination of enthusiasm and imposture; the most sincere devotees, when they intend to advance what they believe to be the word of God, often countenance frauds which they style pious. There are but few zealots who do not even think crimes allowable when the interests of religion are concerned. In religion, as at play, one begins with being dupe, and ends with being knave. Thus on considering things attentively, and comparing the different accounts of the life of Jesus, we must be persuaded that he was a fanatic, who really thought himself inspired, favored by Heaven, sent to his nation; in short, that he was the messiah, who, to support his divine mission, felt no difficulty to employ such deceptions as were best calculated for a people to whom miracles were absolutely necessary; and whom, without miracles, the most eloquent harangues, the wisest precepts, the most intelligent counsels, and the truest principles could never have convinced. A medley of enthusiasm and juggling constitute the character of Jesus, and it is that of all spiritual adventurers who assume the name of Reformers, or become the chiefs of a sect."

"Doubt is not a pleasant condition, but certainty is an absurd one. What is most repellent in the System of Nature — after the recipe for making eels from flour — is the audacity with which it decides that there is no God, without even having tried to prove the impossibility. If God did not exist, he would have to be invented. But all nature cries aloud that he does exist: that there is a supreme intelligence, an immense power, an admirable order, and everything teaches us our own dependence on it."

"It is very strange that men should deny a Creator and yet attribute to themselves the power of creating eels."

"Rien n'est plus incontestable que l'existence de nos sensations; ..."

"D'Alembert was always surrounded by controversy. … he was the lightning rod which drew sparks from all the foes of the philosophes. … Unfortunately he carried this... pugnacity into his scientific research and once he had entered a controversy, he argued his cause with vigour and stubbornness. He closed his mind to the possibility that he might be wrong..."

"Historically, Jean d’Alembert precedes Augustin-Louis Cauchy. However, in the context of functional equations, it seems more natural to consider his contributions after Cauchy. Jean d’Alembert was a man of many names. The illegitimate son of an army officer, Louis-Camus Destouches, and a writer, Claudine Guérin de Tencin, he was born in Paris in 1717, while his father was abroad. Shortly after his birth, his mother abandoned him at the church of Saint-Jean-le-Rond. Following tradition, he was named Jean le Rond after the church, and placed in an orphanage. Upon the return of his father, he was removed from the orphanage, and placed with Mme. Rousseau, the wife of a glazier. Although Destouches continued to support his son financially, he chose not to publicly acknowledge his son. In 1738, Jean le Rond entered law school, where he was registered under the name Daremberg. He later changed this name to d’Alembert."

"Extreme states of being, whether individual or collective, were once purposefully motivated. Some of those purposes no longer have meaning (expiation, salvation). The well-being of communities is no longer sought through means of doubtful effectiveness, but directly, through action. Under these conditions, extreme states of being fell into the domain of the arts, and not without a certain disadvantage. Literature (fiction) took the place of what had formerly been the spiritual life; poetry (the disorder of words) that of real states of trance. Art constituted a small free domain, outside action: to gain freedom it had to renounce the real world. This is a heavy price to pay, and most writers dream of recovering a lost reality. They must then pay in another sense, by renouncing freedom."

"It is clear that the world is purely parodic, in other words, that each thing seen is the parody of another, or is the same thing in a deceptive form."

"Love then screams in my own throat; I am the Jesuve, the filthy parody of the torrid and blinding sun."

"Today, I am overjoyed at being an object of horror and repugnance to the one being whom I am bound to... The blank head in which ‘I’ am has become so frightened and greedy that only my death could satisfy it."

""We’re like a farmer working his land before the storm, walking down his fields with lowered head, knowing that the hail is bound to fall. And then, as the moment approaches, standing in front of his harvest, he draws himself erect and, as I now am doing" – with no transition, this ludicrous, laughable character became noble: that frail voice, that slick voice of his was imbued with ice – "he pointlessly raises his arms to heaven, waiting for the lightning to strike him – him, and his arms …" As he spoke these words he let his own arms fall. He had become the perfect emblem of some dreadful despair."

"All that I had loved during my life rose up like a graveyard of white tombs, in a lunar, spectral light. Fundamentally, this graveyard was a brothel. The funereal marble was alive. In some places it had hair on it."

"I used to shut my eyes and let it shine redly through my lids. The sun was fantastic – it evoked dreams of explosion. Was there anything more sunlike than red blood running over cobblestones, as though light could shatter and kill? Now, in this thick darkness, I’d made myself drunk with light."

"I was jealous of people with a God to hang onto, whereas I … soon all I’d have left would be ‘eyes to cry with’."

"I can grovel at His feet if I believe He doesn’t exist."

"I sank into the moist body the way a well-guided plough sinks into earth. The earth beneath that body lay open like a grave; her naked cleft lay open to me like a freshly dug grave... our bodies were quivering like two rows of teeth chattering together."

"He had porcelain-blue eyes that even in a lighted railway car were lost in the clouds, as if he had personally heard the Valkyries’ summons; but no doubt his ear was more attuned to the trumpet-call of the barracks."

"Each peal of music in the night was an incantatory summons to war and murder. The drum rolls were raised to their paroxysm in the expectation of an ultimate release in bloody salvos of artillery."

"Against this rising tide of murder, far more incisive than life (because blood is more resplendent in death than in life), it will be impossible to set anything but trivialities – the comic entreaties of old ladies."

"How can we linger over books to which their authors have manifestly not been driven? ... the freakish anomalies of Blue of Noon originated entirely in an anguish to which I was prey."

"The big toe is the most human part of the human body, in the sense that no other element of this body is as differentiated from the corresponding element of the (chimpanzee, gorilla and orangutan)."

"The human foot is commonly subjected to grotesque tortures that deform it and make it rickety. In an imbecilic way it is doomed to corns, calluses, and bunions."

"Man's secret horror of his foot is one of the explanations for the tendency to conceal its length and form as much as possible. Heels of greater or lesser height, depending on the sex, distract from the foot's low and flat character. Besides the uneasiness is often confused with a sexual uneasiness; this is especially striking among the Chinese who, after having atrophied the feet of women, situate them at the most excessive point of deviance. The husband himself must not see the nude feet of his wife, and it is incorrect and immoral in general to look at the feet of women. Catholic confessors, adapting themselves to this aberration, ask their Chinese penitents "if they have not looked at women's feet."

"Love expresses a need for sacrifice each unity must lose itself in some other which exceeds it. In erotic frenzy the being is led to tear itself apart and lose itself."

"There is no communication more profound,” he claims. “[T]wo beings are lost in a convulsion that binds them together. But they only communicate when losing a part of themselves. Communication ties them together with wounds, where their unity and integrity dissipate in fever."

"Anyone wanting slyly to avoid suffering identifies with the entirety of the universe, judges each thing as if he were it. In the same way, he imagines, at bottom, that he will never die. We receive these hazy illusions like a narcotic necessary to bear life. But what happens to us when, disintoxicated, we learn what we are? Lost among babblers in a night in which we can only hate the appearance of light which comes from babbling. The self-acknowledged suffering of the disintoxicated is the subject of this book."

"We have in fact only two certainties in this world—that we are not everything and that we will die. To be conscious of not being everything, as one is of being mortal, is nothing. But if we are without a narcotic, an unbreathable void reveals itself. I wanted to be everything, so that falling into this void, I might summon my courage and say to myself: “I am ashamed of having wanted to be everything, for I see now that it was to sleep.” From that moment begins a singular experience. The mind moves in a strange world where anguish and ecstasy coexist."

"The analysis of laughter had opened to me points of contact between the fundamentals of a communal and disciplined emotional knowledge and those of discursive knowledge."

"By inner experience I understand that which one usually calls mystical experience: the states of ecstasy, of rapture, at least of meditated emotion. But I am thinking less of confessional experience, to which one has had to adhere up to now, than of an experience laid bare, free of ties, even of an origin, of any confession whatever. This is why I don’t like the word mystical."

"Experience is, in fever and anguish, the putting into question (to the test) of that which a man knows of being. Should he in this fever have any apprehension whatsoever, he cannot say: “I have seen God, the absolute, or the depths of the universe”; he can only say “that which I have seen eludes understanding”—and God, the absolute, the depths of the universe are nothing if they are not categories of the understanding. If I said decisively, “I have seen God,” that which I see would change. Instead of the inconceivable unknown—wildly free before me, leaving me wild and free before it—there would be a dead object and the thing of the theologian, to which the unknown would be subjugated."

"Inner experience, unable to have principles either in dogma (a moral attitude), or in science (knowledge can be neither its goal nor its origin), or in a search of enriching states (an experimental, aesthetic attitude), it cannot have any other concern nor other goal than itself. Opening myself to inner experience, I have placed in it all value and authority. Henceforth I can have no other value, no other authority (in the realm of mind). Value and authority imply the discipline of a method, the existence of a community. I call experience a voyage to the end of the possible of man. Anyone may choose not to embark on this voyage, but if he does embark on it, this supposes the negation of the authorities, the existing values which limit the possible. By virtue of the fact that it is negation of other values, other authorities, experience, having a positive existence, becomes itself positively value and authority. Inner experience has always had objectives other than itself in which one invested value and authority. … If God, knowledge, and suppression of pain were to cease to be in my eyes convincing objectives, … would inner experience from that moment seem empty to me, henceforth impossible without justification? ... I received the answer [from Blanchot]: experience itself is authority."

"The advance of intelligence diminished, as a secondary consequence, the “possible” in a realm which appeared foreign to intelligence: that of inner experience. To say “diminished” is even to say too little. The development of intelligence leads to a drying up of life which, in return, has narrowed intelligence. It is only if I state this principle: “inner experience itself is authority” that I emerge from this impotence."

"Inner experience … is not easily accessible and, viewed from the outside by intelligence, it would even be necessary to see in it a sum of distinct operations, some intellectual, others aesthetic, yet others moral. … It is only from within, lived to the point of terror, that it appears to unify that which discursive thought must separate."

"Philosophy … finds itself to be no longer anything but the heir to a fabulous mystical theology, but missing a God and wiping the slate clean."

"The difficulty—that contestation must be done in the name of an authority—is resolved this: I contest in the name of contestation what experience itself is."

"We reach ecstasy by a contestation of knowledge. Were I to stop at ecstasy and grasp it, in the end I would define it."

"I remain in intolerable non-knowledge, which has no other way out than ecstasy itself."

"It is through an “intimate cessation of all intellectual operations” that the mind is laid bare. If nor, discourse maintains it in its little complacency. … The difference between inner experience and philosophy resides principally in this: that in experience, … what counts is no longer the statement of wind, but the wind."

"Concern for this or that limited good can sometimes lead to the summit... But this occurs in a roundabout way. Moral ends … are distinct from any excesses they occasion. States of glory and moments of sacredness surpass results intentionally sought."

"Nothing radically changes when instead of human satisfaction, we think of the satisfaction of some heavenly being! God’s person displaces the problem and does not abolish it."

"An extreme, unconditional human yearning was expressed for the first time by Nietzsche independently of moral goals or of serving God. … Ardor that doesn’t address a dramatically articulated moral obligation is a paradox. … If we stop looking at states of ardor as simply preliminary to other and subsequent conditions grasped as beneficial, the state I propose seems a pure play of lightning, merely an empty consummation. Lacking any relation to material benefits such as power or the growth of the state (or of God or a Church or a party), this consuming can’t even be comprehended. … I’ll have to face the same difficulties as Nietzsche—putting God and the good behind him, though all ablaze with the ardor possessed by those who lay down their lives for God or the good. … I’ll admit that moral investigations that aim to surpass the good lead first of all to disorder."

"In the helter-skelter of this book, I didn’t develop my views as theory. In fact, I even believe that efforts of that kind are tainted with ponderousness. Nietzsche wrote “with his blood,” and criticizing, or, better, experiencing him means pouring out one’s lifeblood. … It was only with my life that I wrote the Nietzsche book that I had planned."

"What causes [fragmentation] if not a need to act that specializes us and limits us to the horizon of a particular activity? Even if it turns out to be for the general interest (which generally isn’t true), the activity that subordinates each of our aspects to a specific result suppresses our being as an entirety. Whoever acts substitutes a particular end for what he or she is, as a total being."

"I cannot exist entirely except when somehow I go beyond the stage of action. Otherwise I’m a soldier, a professional, a man of learning, not a “total human being.” The fragmentary state of humanity is basically the same as the choice of an object. When you limit your desires to possessing political power, for instance, you act and know what you have to do. … You insert your existence advantageously into time. Each of your moments becomes useful. With each moment, the possibility is given you to advance to some chosen goal, and your time becomes a march toward that goal—what’s normally called living. … Every action makes you a fragmentary existence. I hold on to my nature as an entirety only by refusing to act—or at least by denying the superiority of time, which is reserved for action."

"Humanity-attached-to-the-task-of-changing-the-world, which is only a single and fragmentary aspect of humanity, will itself be changed in humanity-as-entirety."

"Life is whole only when it isn’t subordinate to a specific object that exceeds it. In this way, the essence of entirety is freedom."

"Entirety exists within me as exuberance … in empty longing … in … the desire to burn with desire."

"It is the positive practice of freedom, not the negative struggle against particular oppression, that has lifted me above a mutilated existence."

"The total person is first disclosed … in areas of life that are lived frivolously."

"Existence as entirety remains beyond any one meaning—and it is the conscious presence of humanness in the world inasmuch as this is nonmeaning, having nothing to do other than be what it is, no longer able to go beyond itself or give itself some kind of meaning through action."

"An intention that rejects what has no meaning in fact is a rejection of the entirety of being."

"If I give up the viewpoint of action, my perfect nakedness is revealed to me."

"The preceding criticism … justifies the following definition of the entire human: human existence as the life of “unmotivated” celebration, celebration in all meaning of the word: laughter, dancing, orgy, the rejection of subordination, and sacrifice that scornfully puts aside any consideration of ends, property, and morality."

"In previous conditions, extreme states came under the jurisdiction of the arts... People substituted writing (fiction) for what was once spiritual life, poetry (chaotic words) for actual ecstasies. Art constitutes a minor free zone outside action, paying for its freedom by giving up the real world. A heavy price!"

"[Zarathustra] never abandoned the watchword of not having any end, not serving a cause, because, as he knew, causes pluck off the wings we fly with."

"[Nietzsche’s doctrine of the eternal return] is what makes moments caught up in the immanence of return suddenly appear as ends. In every other system, don’t forget, these moments are viewed as means: Every moral system proclaims that “each moment of life ought to be motivated.” Return unmotivates the moment and frees life of ends."

"Human entirety can only be what it is when giving up the addiction to others’ ends."

"To choose evil is to choose freedom—“freedom, emancipation from all restraint.”"

"We can’t rely on anything. Except ourselves. Ludicrous responsibility devolves on us, overwhelms us. In every regard, right up the present, people always have relied on each other—or God."

"All eroticism has a sacramental character."

"Inevitably linked with the moment of climax, there is a minor rupture suggestive of death; and conversely the idea of death may play a part in setting sensuality in motion."

"There is no better way to know death than to link it with some licentious image."

"Bataille is associated with the surrealists. Basically the idea is that democracy doesn't work. Communism doesn't work. All these fucking models aren't working. We've got to find some new models — a model of what society should look like. We don't know what humans are like. And the ground is not economics; it's not like people do everything they do for economic reasons. You've got to look at the imagination; you've got to look at sex. We have no way of describing these things using the language we have. So a group was formed around Bataille to try to figure out what it means to be human — what society should look like. Humans have to live in a society — they can't just survive as individuals. That's not a viable condition. You know, everyone's always talking about trauma and pain and how this society isn't working, that we shouldn't have racism and sexism, but we never talk in positive terms — like what would joy be, what it would be like to have a totally great existence. Bataille and his followers looked for models for people to have totally great existences. … Well, they looked at tribal models and how they dealt with sexual stuff and sacrifice and property — the joys that aren't based on economic accumulation and the workaday world, but based on giving it all up — not having that specific, controlling, imprisoning "I." He wasn't a Freudian. He was much more interested in the tribal model where everything is on the surface and you deal with sexual stuff the same way you deal with economic stuff and social stuff. He was a very proper person, a librarian. Bataille's main enemy was Jean Paul Sartre — Bataille wasn't an upper-class intellectual and he took a lot of pressure because of that. Sartre wrote this really horrible article about Bataille and sort of kept his work from getting recognized."

"The author of highly disturbing pornographic novels and equally disturbing theoretical work, Bataille was once called by André Breton the “excrement philosopher.” But this scathing sobriquet points to precisely what makes Bataille so useful in understanding human sexuality in all its polymorphous perversity. In fact, Bataille’s writings on ritual sacrifice and mystical experience help provide a fuller understanding of the bizarre rituals of the crush freaks. Both the writings and life of Bataille evidence an obsession with religion. In his teens, Bataille converted to Catholicism and contemplated entering the priesthood before renouncing his faith in order to fashion himself as an erotic mystic of decadence."

"The first scientific postulate is the objectivity of nature: nature does not have any intention or goal."

"Anything found to be true of E. coli must also be true of elephants."

"The universe is not pregnant with life nor the biosphere with man. ... Man at last knows that he is alone in the unfeeling immensity of the universe, out of which he emerged only by chance. His destiny is nowhere spelled out, nor is his duty. The kingdom above or the darkness below: it is for him to choose."

"If [the emergence of the human species] was unique, as may perhaps have been the appearance of life itself, then before it did appear its chances of doing so were infinitely slender. The universe was not pregnant with life nor the biosphere with man. Our number came up in the Monte Carlo game."

"What I consider completely sterile is the attitude, for instance, of Bertalanffy who is going around and jumping around for years saying that all the analytical science and molecular biology doesn’t really get to interesting results; let’s talk in terms of general systems theory ... there cannot be anything such as general systems theory, it’s impossible. Or, if it existed, it would be meaningless."

"One day, almost exactly 25 years ago - it was at the beginning of the bleak winter of 1940 - I entered ’s office at the Pasteur Institute. I wanted to discuss with him some of the rather surprising observations I had recently made. I was working then at the old Sorbonne, in an ancient laboratory that opened on a gallery full of stuffed monkeys. Demobilized in August in the Free Zone after the disaster of 1940, I had succeeded in locating my family living in the Northern Zone and had resumed my work with desperate eagerness. I interrupted work from time to time only to help circulate the first clandestine tracts. I wanted to complete as quickly as possible my doctoral dissertation, which, under the strongly biometric influence of Georges Teissier, I had devoted to the study of the kinetics of bacterial growth. Having determined the constants of growth in the presence of different carbohydrates, it occurred to me that it would be interesting to determine the same constants in paired mixtures of carbohydrates. From the first experiment on, I noticed that, whereas the growth was kinetically normal in the presence of certain mixtures (that is, it exhibited a single exponential phase), two complete growth cycles could be observed in other carbohydrate mixtures, these cycles consisting of two exponential phases separated by a complete cessation of growth."

"From then on I read avidly the first publications by the "phage-church", and when I entered Lwoff’s department at the Pasteur Institute in 1945, I was tempted to abandon enzyme adaptation in order to join the church myself and work with bacteriophage."

"There is in science, however, quite a gap between belief and certainty. But would one ever have the patience to wait and to establish the certainty if the inner conviction were not already there?"

"We might begin with Jacques Monod. Monod was a great figure whose scientific work I much admire, and was, essentially, the creator of modern molecular biology. His reflections on ethics, however, were of a different quality. (...) Monod's conclusions stem from his opinion that the only other possible way to account for the origin of morals - apart from ascribing them to human invention - is by animistic or anthropomorphic accounts such as are given in many religions. And it is indeed true that 'for mankind as a whole all religions have been intertwined with the anthropomorphic view of the deity as a father, friend or potentate to whom men must do service, pray, etc.' (M. R. Cohen, 1931:112). This aspect of religion I can as little accept as can Monod and the majority of natural scientists. It seems to me to lower something far beyond our comprehension to the level of a slightly superior manlike mind."

"Jacques Monod... published a paper entitled "Genetic Regulatory Mechanisms in the Synthesis of Protein." Using bacteria as a model system, they made the remarkable discovery that genes can be regulated—that is, they can be switched on and off like a water faucet."

"Jacob and Monod found that in bacteria, genes are switched on and off by other genes. This led them to distinguish between effector genes and regulatory genes. Effector genes encode effector proteins... which mediate specific cellular functions. Regulatory genes encode proteins called regulatory proteins, which switch the effector genes on or off."

"Jacob and Monod not only outlined a theory of gene regulation, they also discovered the first regulators of gene transcription. These regulators come in two forms—repressors, genes that encode the regulatory proteins that shut genes off, and as later work showed, activators, genes that encode the regulatory proteins that turn genes on."

"In the Jacob-Monod model, signals from a cell's environment activate regulatory proteins that switch on the genes encoding particular proteins. This led [Philip] Goelet and me to wonder whether the crucial step in switching on long-term memory in sensitization might involve similar signals and similar gene regulatory proteins."

"Socialism, when it attempts to predict or imagine the future (which Marx refused to do, since he conceived of a path, not a model), provides us merely with an improved form of labor (salaries and material conditions on the job)."

"Just as economic pressure from the base … is able to modify the production of surplus value, so pressure grounded in spatial practice is alone capable of modifying the apportionment of that surplus value — i.e. the distribution of the portion of social surplus production allotted to society's collective 'interests', to so-called social services. Such grass-roots pressure, if it is to be effective in this regard, cannot be confined to attacking the state qua guardian of the 'general interest'. For this state, born of the hegemony of a class, has as one of its functions — and a more and more significant function — the organization of space, the regularization of its flows, the control of its networks. It devotes to these purposes a considerable part of global surplus value, of the surplus production assigned to the running of society."

"Pressure from below must therefore also confront the state in its role as organiser of space, as the power that controls urbanization, the construction of buildings and spatial planning in general. The state defends class interests while simultaneously setting itself above society as a whole, and its ability to intervene in space can and must be turned back against it, by grass-roots opposition, in the form of counter-plans and counter-projects designed to thwart strategies, plans and programmes imposed from above."

"'Change life! 'Change society!' These precepts mean nothing without the production of an appropriate space. … new social relationships call for a new space, and vice versa."

"The most remarkable aspect of the transition we are living through is not so much the passage from want to affluence as the passage from labour to leisure"

"It is through knowledge that the proletarian liberates himself and begins actively superseding his condition. Moreover in this effort to attain knowledge and awareness, he is forced to assimilate complex theories (economic, social, political...), i.e. to integrate the loftiest findings of science and culture into his own consciousness. On the other hand the petty bourgeois and bourgeois, as such, are barred access to the human. For them to become humanized, they must break with themselves, reject themselves, an endeavor which on an individual level is frequently real and pathetic … We should understand men in a human way, even if they are incomplete; conditions are not confined within precise, geometrically defined boundaries, but are the result of a multitude of obstinate and ever-repeated (everyday) causes. Attempts to escape from the bourgeois condition are not particularly rare; on the other hand, the failure of such attempts are virtually inevitable, precisely because it is not so much a question of suppression but of a complete break. (Among intellectuals, this notion of super session is frequently false and harmful; when they supersede themselves as petty-bourgeois or bourgeois intellectuals, they are often merely continuing in the same direction and following their own inclinations in the belief that they are 'superseding themselves'. So far from gaining a new consciousness, they are merely making the old one worse. There is nothing more unbearable than the intellectual who believes himself to be free and human, while in every action, gesture, word and thought he shows that he has never stepped beyond bourgeois consciousness.)"

"The 'meaning' of life is not to be found in anything other than that life itself. It is within it, and there is nothing beyond that. 'Meaning' cannot spill over from being; it is the direction, the movement of being, and nothing more. The 'meaning' of a proletarian's life is to be found in that life itself: in its despair, or conversely in its movement towards freedom, if the proletarian participates in the life of the proletariat, and if that life involves continuous, day-to-day action (trade-union, political...)."

"The method of Marx and Engels consists precisely in a search for the link which exists between what men think, desire, say and believe for themselves and what they are, what they do. This link always exists. It can be explored in two directions. On the one hand, the historian or the man of action can proceed from ideas to men, from consciousness to being - i.e. towards practical, everyday reality - bringing the two into confrontation and thereby achieving archieving criticism of ideas by action and realities. That is the direction which Marx and Engels nearly always followed in everything they wrote; and it is the direction which critical and constructive method must follow initially if it is to take a demonstrable shape and achieve results. But it is equally possible to follow this link in another direction, taking real life as the point of departure in an investigation of how the ideas which express it and the forms of consciousness which reflect it emerge. The link, or rather the network of links between the two poles will prove to be complex. It must be unravelled, the thread must be carefully followed. In this way we can arrive at a criticism of life by ideas which in a sense extends and completes the first procedure."

"Appearance and reality [...] are not separated like oil and water in a vessel, but rather amalgamated like water and wine. To separate them, we must analyse them in the most 'classic' sense of the word: the elements of the mixture must be isolated."

"Only a vast inventory of the elements of our culture - in other words of our consciousness of life - will enable us to see clearly."

"[U]p until now 'progress' has affected existing social realities only secondarily, modifying them as little as possible, according to the strict dictates of capitalist profitability. The important thing is that human beings are profitable, not that their lives be changed. As far as is possible, capitalism respects the pre-existing shape and contours of people's lives. Only grudgingly, so to speak, does it bring about any change. Criticism of capitalism as a contradictory 'mode of production' which is dying as a result of its contradictions is strengthened by criticism of capitalism as the distributor of the wealth and 'progress' it has produced. And so, constantly staring us in the face, mundane and therefore generally unnoticed - whereas in the future it will be seen as a characteristic and scandalous trait of our era, the era of the decadent bourgeoisie - is this fact: that life is lagging behind what is possible, that it is retarded. What incredible backwardness. This has up until now been constantly increasing; it parallels the growing disparity between the knowledge of the contemporary physicist and that of the 'average' man, or between that of the Marxist sociologist and that of the bourgeois politician. Once pointed out, the contrast becomes staggeringly obvious, blinding; it is to be found everywhere, whichever way we turn, and never ceases to amaze."

"Everything great and splendid is founded on power and wealth. They are the basis of beauty. This is why the rebel and the anarchic protester who decries all of history and all the works of past centuries because he sees in them only the skills and the threat of domination is making a mistake. He sees alienated forms, but not the greatness within. The rebel can only see to the end of his own ‘private’ consciousness, which he levels against everything human, confusing the oppressors with the oppressed masses, who were nevertheless the basis and the meaning of history and past works. Castles, palaces, cathedrals, fortresses, all speak in their various ways of the greatness and the strength of the people who built them and against whom they were built. This real greatness shines through the fake grandeur of rulers and endows these buildings with a lasting ‘beauty’. The bourgeoisie is alone in having given its buildings a single, over-obvious meaning, impoverished, deprived of reality: that meaning is abstract wealth and brutal domination; that is why it has succeeded in producing perfect ugliness and perfect vulgarity. The man who denigrates the past, and who nearly always denigrates the present and the future as well, cannot understand this dialectic of art, this dual character of works and of history. He does not even sense it. Protesting against bourgeois stupidity and oppression, the anarchic individualist is enclosed in ‘private’ consciousness, itself a product of the bourgeois era, and no longer understands human power and the community upon which that power is founded. The historical forms of this community, from the village to the nation, escape him. He is, and only wants to be, a human atom (in the scientifically archaic sense of the word, where ‘atom’ meant the lowest isolatable reality). By following alienation to its very extremes he is merely playing into the hands of the bourgeoisie. Embryonic and unconscious, this kind of anarchism is very widespread. There is a kind of revolt, a kind of criticism of life, that implies and results in the acceptance of this life as the only one possible. As a direct consequence this attitude precludes any understanding of what is humanly possible."

"To see things properly, it is not enough simply to look. People who look at life - purely as witnesses, spectators - are not rare; and one of the strangest lessons to be learnt from our literature is that professional spectators, judges by vocation and witnesses by predestination, contemplate life with less understanding and grasp of its rich content than anyone else. There really is no substitution for participation!"

"Muhammad isn't sacred to me. I don't blame Muslims for not laughing at our drawings. I live under French law. I don't live under Quranic law."

"I am not afraid of reprisals, I have no children, no wife, no car, no debt. It might sound a bit pompous, but I'd prefer to die on my feet than to live on my knees."

"In addition to relative indifference to the fate of the euro area, Britain is more protected because of speculation the central bank may intervene directly to finance the debt ... Europe is not a cash box, let alone a cashpoint."

"The British have been particularly shy about the issues of financial regulation, and attentive only to the interests of the City – hence their reluctance to see the introduction of a tax on financial transactions and tax harmonisation in Europe."

"We need intelligence services to fight against terrorism, but they have to respect the principles of good relationships between allies and protect personal, confidential data."

"The first time that I went to the United States was in 1974 ... I was 20 years old. America was in crisis. The dollar was at a low. The Watergate scandal had already erupted. And I still remember this vision I had of New York, which was a huge, fascinating city, dirty and violent. And I’ve been to the U.S. regularly, but what impresses me most in this large nation is its capacity to overcome hardship and return to the heights."

"I spent the first ten years of my life in Germany, the following ten in Paris, the following ten between Argentine and Uruguay."

"We are too many to live, but never enough to suffer and die."

"We are all guilty of existing; Gnosis admits that life is a burden and that the salvation of the species lies in chastity, resulting in universal extinction. Jesus — the real Jesus, not the one of the Catholic Church — expressed a similar sentiment when, as some fragments of the Apocryphal Gospels show, he wished that life would cease in order for misery to end, and that he praised a woman named Salome for being sterile, declaring to her that he came for destroying the opera of the women. These are a couple of rational statements that every reasonable man should adopt, but since the majority is neither reasonable nor sensible, new abortions will be raised in misery, shame, disease, and filth."

"Death is not terrible, life is terrible, but we see things literally and figuratively upside down. The philosopher is the one who puts everything back in its proper place."

"If the fornicators sin, those who impregnate sin a hundred times more."

"The fact that we suffer doesn't necessarily imply that pain is meaningful; quite the contrary! It's always pointless to endure pain, but our vanity refuses to admit it, and therefore builds castles in the air to amuse itself with illusions, which is also called metaphysics."

"Pessimism has never been in fashion because no order could stand it; it's a luxury of the mind, and thus beyond the reach of the common man."

"Every child believes in its parents: that seems to be the first mistake, for they are usually not gods but ordinary people, and a child will never reach manhood unless it sees through this deception. The free man must be unfaithful to his roots; otherwise, he becomes a servant."

"I would be pleased indeed, if the universe were full of blazing ovens, concentration camps, and people deported."

"My entire existence is a methodical "NO”."

"Who are the most wicked of men? It's the optimists."

"For me, nothingness has a charm that the abortions that populate this place could never have and never will have. I thank heaven that I live here; leaving this world doesn't take any effort."

"If I had to live my life over again, I wouldn't change a thing. I fully approve of what I've done, and I'm immensely proud of myself. It's life itself that I despise, not my existence; it's the principle, not its application, that couldn't have been better, given the circumstances."

"It's because life itself is inhuman that men are not human."

"According to Gnosis, the universe is the prison of the species and is virtually embraced by fate, which is reminiscent of Sartre despite all the differences in expression. We enter the world through a gate that requires no explanation: we are the outcasts of women. We emerge from the womb and are thrust into something we didn't choose, which is essentially Heidegger's concept of thrownness. Our mothers cast us into the world, and we awaken as prisoners. When our eyes open, we find ourselves in chains. Our existence is like Plato's cave, where we perceive only the shadows of things."

"French, German, English and Spanish are four admirable languages and I manage to express myself in all of them with more or less skill."

"I don't hide my profession of pessimism and I'm an avowed partisan of reaction."

"The educated reader knows, as he reads me, that he is listening to a fugue in four voices."

"I was born to myself between 1946 and 1948, I then opened my eyes on the world, until that moment I have been blind."

"Imagine a world in which thirty billion humans would live like the people in Asia, cramped into a few cities the size of France, with hundred-story buildings containing a hundred thousand rooms, where water runs for only two hours a day. Most of them would be born, live, and die in ten-unit structures, breathing air supplied by machines and consuming rather unappetizing food made of algae, cellulose, or even insects. Is it any wonder that some feel the urge to destroy everything, if only to avoid a nightmare that has now become inevitable?"

"Happiness rarely leads us to intellectual adventures. Writers and artists, not to mention philosophers, are usually dissatisfied with themselves or the world."

"The older I grow, the more Gnosis speaks to my reason: the world is not ruled by a Providence, it's intrinsically evil and deeply absurd, and Creation is either the dream of blind intelligence or the game of a principle without a moral."

"The few truths contained in the so-called Catholic faith lead us back to Gnosticism, which is a precise description of universal misery and absurdity, literally doubling its weight with death. In the light of Gnosis, we rediscover in Existentialism the abandonment and confinement of man: he is left alone, chained, and walks among the crowd under the closed vault of destiny, prey to loneliness and finitude. He discovers that he did not choose the suffering he has to endure, that he was just there, nothing else, and that he cannot transcend this situation since it is part of his essence."

"In every saint there lurks an arrant knave, the marrow of all holiness being absolute hellishness. That's why our Saviors are of no avail, their remedies being too strong for the common man, who is the puppet of his fleshly appetite and not a sinner."

"Great heed has to be taken about the fact that most of us desire to remain unconscious: felicity (in eyes of common man) is rapture and rapture seems a quenching of awareness reduced to the awareness of its obliteration... Sex and Religion are centred on it both and I dare say that their convenience will in future be to join instead of rivalling, as they are wont to do, obscenity will be religious as it was long ago."

"Our moral ideas are not transcendent, our moral ideas are historical and History obeys to changing Aions, we feel that ours is fading and no authority can enforce confidence rooted in what no power includes : in Sensibility itself. To every Aion a new Sensibility adheres and to each Sensibility another Aion is related, sin is nowhere, we only see abuse and worst among abuses, the delusion of sin as such."

"Most of us live betwixt quiet despair and furious nihilism."

"I am a racist and a colonialist."

"Our most terrifying fears and our innermost secret desires for extermination are reflected in this elegant and profound book, without any sort of leniency to attenuate the disgust and hopelessness we feel when faced with a humanity constantly atrophied by a series of values and practices that lead to chaos."

"We strive towards death like an arrow towards its target, and we never miss. Death is our only certainty, and we always know that we will die, no matter where, when, or how. The idea of eternal life is nonsense, eternity is not life, death is the rest we seek, life and death are intertwined, and those who demand something else ask for the impossible and will earn nothing but smoke."

"We, who are not satisfied with empty words, consent to disappear, and we rejoice in our fate. We didn't choose to be born, and consider ourselves fortunate to have nowhere to outlive this life, which was imposed upon us rather than given — a life full of sorrows and pains with dubious or harmful pleasures."

"The cities we inhabit are schools of death because they are inhuman. Each has become a den of noise and stench. Each has become a chaos of buildings where we amass ourselves by the millions, losing our life's purpose. Unfortunates, with no escape, we feel that we have put ourselves, willingly or not, in the labyrinth of the absurd, from which we will only emerge dead, for our destiny is to multiply without end, only to perish in great numbers. With each turn of the wheel, the cities we inhabit advance imperceptibly towards each other, aspiring to merge into an absolute chaos of noise and stench. With each turn of the wheel, the price of land rises, and in the labyrinth that devours free space, the revenue from investments builds hundreds of walls, day after day. Since money must work and the cities we inhabit must progress, it's still legitimate for their houses to double in height with each generation, even if they lack water every two days. The builders only seek to escape the fate they are preparing for us by fleeing to the countryside."

"Since order is not infallible, it is up to war to one day remedy its faults, and as order continues to multiply them, we are heading towards war; war and the future seem inseparable. This is the only certainty: death is, in a word, the meaning of everything, and man is but a thing in the face of death, as are nations. History is a passion, and its victims are legion. The world we live in is hell moderated by nothingness, where man, refusing to know himself, prefers to sacrifice himself like an animal species that has become too numerous - similar to swarms of locusts and armies of rats - believing that it is more sublime to perish, to perish innumerable times, than to finally reconsider the world he inhabits."

"We live for death, love for death, and give birth and toil for death. Our works and days now follow one another in the shadow of death. The discipline we adhere to, the values we uphold, and the plans we make all lead to one end: death."

"Evil desires men to multiply, for the more men there are, the less they are worth. To be truly human, man will never be rare enough."

"Life is no longer sacred from the moment the living become too numerous. The lives of surplus men are no more valuable than those of insects, and soldiers killed in war are no different in the eyes of those who command them."

"Like every 'intellectual', a philosophy teacher is a petty bourgeois. When he opens his mouth, it is petty-bourgeois ideology that speaks: its resources and ruses are infinite."

"You know what Lenin says about 'intellectuals'. Individually certain of them may (politically) be declared revolutionaries, and courageous ones. But as a mass, they remain 'incorrigibly' petty-bourgeois in ideology."

"To become 'ideologists of the working class' (Lenin), 'organic intellectuals' of the proletariat (Gramsci), intellectuals have to carry out a radical revolution in their ideas: a long, painful and difficult re-education. An endless external and internal struggle."

"Class instinct is subjective and spontaneous. ... To arrive at proletarian class positions, the class instinct of proletarians only needs to be educated; the class instinct of the petty bourgeoisie, and hence of intellectuals, has, on the contrary, to be revolutionized."

"The sciences we are familiar with have been installed in a number of great 'continents'. Before Marx, two such continents had been opened up to scientific knowledge: the continent of Mathematics and the continent of Physics. The first by the Greeks (Thales), the second by Galileo. Marx opened up a third continent to scientific knowledge: the continent of History."

"The number-one philosophical battle therefore takes place on the frontier between the scientific and the ideological. There the idealist philosophies which exploit the sciences struggle against the materialist philosophies which serve the sciences."

"To be a Communist is to be a partisan and artisan of Marxism-Leninist philosophy: of dialectical materialism."

"The reproduction of labour power thus reveals as its sine qua non not only the reproduction of its ‘skills’ but also the reproduction of its subjection to the ruling ideology. ... It is in the forms and under the forms of ideological subjection that provision is made for the reproduction of the skills of labour power."

"The proletariat must seize state power in order to destroy the existing bourgeois state apparatus and, in a first phase, replace it with a quite different, proletarian, state apparatus, then in later phases set in motion a radical process, that of the destruction of the state."

"I shall call Ideological State Apparatuses (ISAs) a certain number of realities which present themselves to the immediate observer in the form of distinct and specialized institutions: ..."

"But someone is bound to question ... by what right I regard as Ideological State Apparatuses, institutions which for the most part do not possess public status, but are quite simply private institutions. As a conscious Marxist, Gramsci already forestalled this objection in one sentence. The distinction between the public and the private is a distinction internal to bourgeois law, and valid in the (subordinate) domains in which bourgeois law exercises its ‘authority’. The domain of the State escapes it because the latter is ‘above the law’: the State, which is the State of the ruling class, is neither public nor private; on the contrary, it is the precondition for any distinction between public and private. The same thing can be said from the starting-point of our State Ideological Apparatuses. It is unimportant whether the institutions in which they are realized are ‘public’ or ‘private’. What matters is how they function."

"For you and for me, the category of the subject is a primary ‘obviousness’ (obviousnesses are always primary): it is clear that you and I are subjects (free, ethical, etc.). Like all obviousnesses, including those that make a word ‘name a thing’ or ‘have a meaning’ (therefore including the obviousness of the ‘transparency’ of language), the ‘obviousness’ that you and I are subjects – and that that does not cause any problems – is an ideological effect, the elementary ideological effect. It is indeed a peculiarity of ideology that it imposes (without appearing to do so, since these are ‘obviousnesses’) obviousnesses as obviousnesses."

"While speaking in ideology, and from within ideology we have to outline a discourse which tries to break with ideology, in order to dare to be the beginning of a scientific (i.e. subject-less) discourse on ideology."

"All ideology hails or interpellates concrete individuals as concrete subjects, by the functioning of the category of the subject. ... ideology ‘acts’ or ‘functions’ in such a way that it ‘recruits’ subjects among the individuals (it recruits them all), or ‘transforms’ the individuals into subjects (it transforms them all) by that very precise operation which I have called interpellation or hailing, and which can be imagined along the lines of the most commonplace everyday police (or other) hailing: ‘Hey, you there!’"

"Those who are in ideology believe themselves by definition outside ideology: one of the effects of ideology is the practical denegation of the ideological character of ideology by ideology: ideology never says, ‘I am ideological’. It is necessary to be outside ideology, i.e. in scientific knowledge, to be able to say: I am in ideology (a quite exceptional case) or (the general case): I was in ideology. As is well known, the accusation of being in ideology only applies to others, never to oneself (unless one is really a Spinozist or a Marxist, which, in this matter, is to be exactly the same thing). Which amounts to saying that ideology has no outside (for itself), but at the same time that it is nothing but outside (for science and reality)."

"Marx compellingly proved it in Capital Volume Two, that no production is possible which does not allow for the reproduction of the material conditions of productions: the reproduction of the means of production."

"What do children learn at school? They go varying distances in their studies, but at any rate they learn to read, to write and to add - i.e. a number of techniques, and a number of other things as well, including elements (which may be rudimentary or on the contrary thoroughgoing) of scientific' or 'literary culture', which are directly useful in the different jobs in production (one instruction for manual workers, another for technicians, a third for engineers, a final one for higher management, etc.). Thus they learn 'know-how'."

"The class (or class alliance) in power cannot lay down the law in the ISAs as easily as it can in the )repressive) State apparatus, not only because the former ruling classes are able to retain strong positions there for a long time, but also because the resistance of the exploited classes is able to finds find means and occasions to express itself there, either by the utilization of their contradictions, or by conquering combat positions in struggle."

"Into the 1960s the new Marx, the newly discovered Marx, was the Marx of the Paris Manuscripts. These are, as Marx once wrote to Engels in their later years, green, in contrast to the later grey of theory and the dull industrial culture of factory civilization which it sought to explain. Reading the young Marx was fun, more or less; reading Capital, in contrast, was hard work. Althusser sternly took on the duty of reading Capital, writing a very serious book called Reading Capital, and insisting that we should all read Capital seriously, in its multiple volumes, preferably in the original (Althusser and Balibar 1970). The early Marx was Marx before he was Marx, foreplay rather than the real action. Capital was taken to represent a new form of knowledge, building upon a significant epistemological break or rupture. We all became epistemologists. Nobody seemed to notice that this was a step away from practice, rather than towards it. But these were times of great seriosity, and high illusions, as well as very serious scholarship. Yet there was something important in this mission. Marx’s early writings give us the perspective of his laboratory. We can watch him thinking, and it can be an exhilarating experience. But his life’s work was Capital, and the architectonic of that work repays serious close reading. Rightly or wrongly, Marx had become convinced that the mode of presentation of this work was crucial; that there was a best way to explain capital, and that he had sorted it out. He was also convinced that capital was the privileged category, to be accessed via the logic of the commodity form. It did seem something of an irony that none, or few, of the Marxists had read Marx, because it was too hard. And this was part and parcel of the story of the fate of marxism. Engels, Kautsky (the pope of Marxism), then Lenin, and finally Stalin had reduced Marx’s theory to a series of axioms or platitudes about surplus value, historical and finally dialectical materialism. Marxists got by reciting these axioms in their daily denunciations of capitalism. Marxism had become its own caricature. Althusser blew the whistle on this state of affairs. After Althusser, it was inadmissible for Marxists to cut corners. They were now compelled to deal with their own theoretical heritage. A few clichés concerning the ubiquity of alienation and the need for revolution would no longer do."

"Lewis has written that "man makes history." Althusser unleashes a pamphlet at him maintaining that such is not the case: "Ce sont les masses qui font l'histoire." I challenge anyone to find a social scientist outside the Marxist camp who can seriously pose a problem of this type."

"Althusser was not a charlatan. He himself really believed that he had discovered something significant—or was about to discover something significant—when his illness struck. It is not because he was mad that he was a mediocre philosopher; indeed, the recognition of his own intellectual mediocrity may have contributed to his depressions, and thence to his loss of sanity. If there is something humiliating about the Althusserian episode in intellectual history then, the humiliation is not his alone. He was a guru, complete with texts, a cult, and true believers; and he showed occasional insight into the pathos of his followers, noting that they imitated his "smallest gestures and inflections." Althusser's work and his life, with his drugs, his analysts, his self-pity, his illusions, and his moods, take on a curiously hermetic quality. He comes to resemble some minor medieval scholastic, desperately scrabbling around in categories of his own imagining. But even the most obscure theological speculation usually had as its goal something of significance. From Althusser's musings, however, nothing followed. They were not subject to proof and they had no intelligible worldly application, except as abstruse political apologetics. What does it say about modern academic life that such a figure can have trapped teachers and students for so long in the cage of his insane fictions, and traps them still?"

"If one leaves a wooden or cardboard box containing a small glass ampulla with several centigrams of a radium salt in one’s pocket for a few hours, one will feel absolutely nothing. But 15 days afterwards a redness will appear on the epidermis, and then a sore which will be very difficult to heal. A more prolonged action could lead to paralysis and death. Radium must be transported in a thick box of lead. It can even be thought that radium could become very dangerous in criminal hands, and here the question can be raised whether mankind benefits from knowing the secrets of Nature, whether it is ready to profit from it or whether this knowledge will not be harmful for it. The example of the discoveries of Nobel is characteristic, as powerful explosives have enabled man to do wonderful work. They are also a terrible means of destruction in the hands of great criminals who are leading the peoples towards war. I am one of those who believe with Nobel that mankind will derive more good than harm from the new discoveries."

"Science... dominates all things, it alone is of any definite utility. No man, no institution shall henceforth have an enduring authority if they do not conform themselves to its precepts."

"The word truth can not be used outside of science without a misuse of terms."

"Science is the real moral school; she teaches man the love and respect for the truth, without which all hope is chimerical."

"Chemistry is not a primitive science, like geometry or astronomy; it is constructed from the debris of a previous scientific formation; a formation half chimerical and half positive, itself founded on the treasure slowly amassed by the practical discoveries of metallurgy, medicine, industry, and domestic economy. It has to do with alchemy, which pretended to enrich its adepts by teaching them to manufacture gold and silver, to shield them from diseases by the preparation of the , and finally to obtain for them perfect felicity by identifying them with the soul of the world and the universal spirit."

"There abides in nature a certain form of matter which, being discovered and brought by art to perfection, converts to itself, proportionally, all imperfect bodies that it touches. ...It rested on the indisputable appearance of an indefinite cycle of transformations, reproducing themselves in chemical operations, without either beginning or end."

"Your sympathy makes the lamp which is on the point of being extinguished in the everlasting night shine with a final brilliancy. The respect which humanity shows to aged persons is the expression of the solidarity which unites the present generations to those which have gone before and to those which will follow."

"In fact, what we are can only be attributed for a small part to our labour and personal individuality, because we owe it almost entirely to our forefathers, both of blood and mind."

"If each one of us adds something to the common weal in the domain of science, or art, or morality, the reason is because long series of generations have lived, worked, thought, and suffered before us. The science which you honour to-day has been created by the patient labours of our predecessors."

"Each one of us, whatever may have been his individual initiative, ought also to attribute a considerable portion of his success to his contemporaries who are working at the same time as himself at the great common task."

"In effect, it may be declared emphatically that no one has a right to claim the exclusive merit of the brilliant discoveries of the past century. Science is essentially a collective work, prosecuted during the course of time by the efforts of a multitude of workers of every age and every nation, succeeding each other and associated in virtue of a tacit understanding for the research of truth in its purity, and for the application of this truth to the continual transformation of the condition of all men."

"Gentlemen, formerly savants were looked upon as a little group of amateurs and leisured people, maintained at the expense of the labouring classes, and performing a work of luxury for the amusement and distraction of the favourites of fortune. This narrow and unjust view which took so little into account, our services and devotion to truth, this prejudice, ended by disappearing when the development of science showed that Nature's laws were applicable to practical industry, and their effect was to replace the old traditional receipts and empirics by profitable rules founded on observation and experience. To-day who would dare to look upon science as a sterile amusement in presence the general increase of national and private riches which resulted from it?"

"The most interesting of the services rendered by science is perhaps shown by comparing the servile and miserable condition of the popular masses in the past with their present state, already so much raised in dignity and comfort, without prejudice to the hopes which they are gradually realising."

"Is there still a statesman who doubts the services greater still that may be expected from this incessant progress?"

"Science is the benefactor of humanity."

"Thus it is that the tangible utility of scientific results has made the public authorities understand that laboratory work should be encouraged and sustained, because it is economically a benefit to all and for the public health."

"Science carries its legitimate pretensions further. To-day it claims the material, intellectual, and moral direction of society. Under its impulse modern civilisation marches with an increasingly rapid stride."

"Gentlemen, since the first half of the century that has terminated, without going further back, the world has strangely altered. The men of my generation have seen come into play, beside and above the nature known since antiquity, if not an antithesis, a counter-nature... but a superior nature, and to some extent transcendent, where the power of indıvidual is centupled by the transformation of forces until then unknown or not understood, borrowed from light, magnetism, and electricity."

"A new conception of human destiny results from a profound knowledge of the universe and the physical and moral constitution of man, directed by the fundamental notions of universal solidarity between all classes and all nations."

"According as the bonds uniting the peoples of the world together are multiplied and lightened by the progress of science and by unity of the doctrines and precepts that it deducts from facts, and imposes without violence and yet in a relentless manner to all convictions, these ideas have assumed a growing and more and more irresistible importance. They tend to become a purely human basis of nature, morality, and politics."

"Hence the rôle of savants, as individuals and as a social class, has unceasingly developed in modern states. But our duties towards other men increase in the same ratio, and let it never be forgotten; let it proclaimed in this hall, in this palace of French science."

"It not by reason of the egoistical satisfaction of our private vanity that the world-to-day pays homage to savants. No; it is because it knows that a savant really worthy of the name devotes a disinterested life to the great work of our epoch—I mean to say to the improvement, too slow, alas! for our taste, of the condition of every one, from the richest and happiest to the humble, the poor, and the suffering. That is what the public declared nine years ago in this same hall when honouring Pasteur. That is what my friend Chaplain has tried to express on the beautiful medal which the President of the Republic will presently offer me. I do not know if I have completely fulfilled noble ideal traced by the artist, but I have tried to make it object and end, the directing idea of my existence."

"Marcellin Berthelot... observed ants as a hobby. He published in 1886 under the title Science et philophie... several essays. One... "Les cités animales et leur évolution". ...He was convinced that the same instinct of sociability was active among human races and among animal ones. He considered the hypothesis of the social contract as a chimerical one. ...Ten years later, in another collection of essays... Science et morale... [h]e considered that it is more useful to compare human societies with ant colonies than with beehives, because while in the latter laws are uniform, in the former there is a place for individual intitiatives."

"[Berthelot] is not only a great chemist, but also a great philosopher. He possessed a universal spirit. His discovery of the synthesis of organic materials would be enough to immortalize his name. His work on explosive materials were also invaluable services..."

"Berthelot... says that alchemy rested partly on the industrial processes of the ancient Egyptians, partly on the speculative theories of the Greek philosophers, and partly on the mystical reveries of the Gnostics and the Alexandrians."

"In 1851, at the age of twenty-four, he entered the College de France, as préparateur of the lectures on chemistry (under Balard, the discoverer of bromine)."

"He produced over a thousand memoirs, embracing every department of chemistry."

"Although Wohler, in 1828, produced artificially, and Kolbe synthetized in 1845, Berthelot was undoubtedly the creator or founder of organic synthesis."

"[H]e was not only a great chemist, but a politician, philosopher, and author."

"Probably the most important syntheses of his are the production of acetylene from carbon and hydrogen, and methane or marsh gas, by means of the well-known Berthelot's reaction; and of dynamical chemistry, his most important discovery is "the law of maximum work.""

"His scientific labours were immense, and he completely revolutionized chemistry in more departments than one. He transformed agriculture; proved that inorganic and organic bodies obey the same laws; established "la théorie des affinités"; and invented thermo-chemistry."

"The first half of the nineteenth century was devoted to analytical chemistry—this being due to the great work of Berzelius. The second half, however, was the era of Berthelot or synthetical chemistry."

"Berthelot believed in the possibility of wheat-growing and cattle-raising being superseded by the discovery of artificial substitutes for the necessaries of life. ...Berthelot's idea of the synthesis of substances that will take the place of wheat and meat is the most audacious flight of fancy... but it need not... be classed among the impossibilities."

"Berthelot was justified by accomplished facts in stating that applied science has done more for mankind in the last three-quarters of a century than all the progress in all ages that preceded it."

"Berthelot was quite sure that physics and chemistry would soon solve the problem of aerial navigation, and he significantly remarked that when they do so " customhouses will fall of themselves.""

"Although glycerine was discovered by Scheele in 1779, and its formula established by Pelouze in 1836, it was not until 1854 that its true composition was known... [when] Berthelot... proved that it is an alcoholic compound capable of interacting with... acids as acetic and palmitic."

"In 1860 Berthelot's Chimie Organique fondée sur la Synthèse, was published. It was the first... based entirely on synthesis."

"His methods were simple and direct. By means of the electric spark, and united to form ; or [acetylene was also obtained] by... [sparking] a mixture of hydrogen and ...or by... spark[ing] a mixture of hydrogen with vapour, or ."

"He also formed by passing the vapour of and sulphuretted hydrogen over hot copper; and by the action of carbon monoxide on a hot solution of caustic potash, was produced, the formate yielding on distillation with ."

"He formed by the action of the electric spark on a mixture of and ."

"[O]f the numerous syntheses of Berthelot, or the building up of chemical compounds, many... were [previously] only obtained [naturally] through... life, either animal or vegetable."

"In 1864 Berthelot began his great work on thermo-chemistry, and in 1879... published... Essai de Mécanique Chimique fondée sur la Thermo-chimie."

"His laws are... (1) The heat disengaged in any reaction is a measure of the chemical and physical work accomplished in the reaction. (2) The total thermal value of a reaction is dependent only on the initial and final states of the changing system. (3) "The Law of Maximum Work," or "the theorem of the necessity of reactions"... This law is the fundamental principle of Berthelot's thermo-chemistry: "The quantity of heat evolved in a reaction measures the sum of the physical and chemical changes which occur in that reaction"—"ce principe fournit la mesure des affinités chimiques.""

"Berthelot's agricultural station and laboratory were at , and here experiments on vegetable soils, the fixation of atmospheric nitrogen in soils by the agency of microbes, the action of electricity on the growth of plants, etc., were conducted. Berthelot states that twenty-five pounds of per annum per acre might be fixed by bacteria."

"During the siege of Paris, Berthelot was President of the Scientific Committee of National Defence, and was occupied in the manufacture of explosives, and in 1883 he published, in two volumes, his work, Sur la Force des Matieres Explosives... a valuable contribution to the science..."

"To discover something in mathematics is to overcome an inhibition and a tradition. You cannot move forward if you are not subversive."

"Trotskyism gave me … a remarkable education, clearly more advanced and sophisticated than that of most youngsters of my age. But by the extremism and sectarianism of its ideas, and by its stereotyped language, it neutralised me during the occupation. My judgment remains extremely severe on my own actions as well as those of the majority of the Trotskyist party during that period."

"I have always thought that morality in politics was something essential, just like feelings and affinities."

"I was always deeply uncertain about my own intellectual capacity; I thought I was unintelligent. And it is true that I was, and still am, rather slow. I need time to seize things because I always need to understand them fully. Even when I was the first to answer the teacher's questions, I knew it was because they happened to be questions to which I already knew the answer. But if a new question arose,usually students who weren't as good as I was answered before me. Towards the end of the eleventh grade, I secretly thought of myself as stupid. I worried about this for a long time. Not only did I believe I was stupid, but I couldn't understand the contradiction between this stupidity and my good grades. I never talked about this to anyone, but I always felt convinced that my imposture would someday be revealed: the whole world and myself would finally see that what looked like intelligence was really just an illusion. If this ever happened, apparently no one noticed it, and I’m still just as slow. (...)At the end of the eleventh grade, I took the measure of the situation, and came to the conclusion that rapidity doesn't have a precise relation to intelligence. What is important is to deeply understand things and their relations to each other. This is where intelligence lies. The fact of being quick or slow isn't really relevant. Naturally, it's helpful to be quick, like it is to have a good memory. But it's neither necessary nor sufficient for intellectual success."

"Mathematics, politics and butterflies were the three great loves of Laurent Schwartz."

"Schwartz never offered blind allegiance to Left or Right. Above all he was, in his own words, a man who hated to see systems not working properly."

"How I suffered when I had to preach to you those pious lies that I detest in my heart. What remorse your credulity caused me! A thousand times I was on the point of breaking out publicly and opening your eyes, but a fear stronger than myself held me back, and forced me to keep silence until my death."

"It is an act of cruelty, of barbarism, to kill, to strike unconscious, and to cut the throat of animals, who do no harm to anyone, the way we do; because they are sensitive to injury and pain just as we are, regardless of what is said vainly, falsely, and ridiculously by our new Cartesians, who regard them as purely machines without soul and without feelings … This is a ridiculous opinion, a pernicious principle, and a detestable doctrine, because it clearly tends to stifle in the hearts of men all feelings of kindness, of gentleness, and of humanity that they might have toward these poor animals. … Blessed are the nations that treat them kindly and favorably, who are compassionate toward their miseries and their pains; but cursed are the nations that treat them cruelly, who tyrannize over them, who enjoy shedding their blood, and who are avid to eat their flesh."

"When we wish to examine in a cool, calm way the opinions of men, we are very much surprised to find that in those which we consider the most essential, nothing is more rare than to find them using common sense; that is to say, the portion of judgment sufficient to know the most simple truths, to reject the most striking absurdities, and to be shocked by palpable contradictions."

"In a word, whoever will consult common sense upon religious opinions, and will carry into this examination the attention given to objects of ordinary interest, will easily perceive that these opinions have no solid foundation; that all religion is but a castle in the air; that Theology is but ignorance of natural causes reduced to a system; that it is but a long tissue of chimeras and contradictions; that it presents to all the different nations of the earth only romances devoid of probability, of which the hero himself is made up of qualities impossible to reconcile, his name having the power to excite in all hearts respect and fear, is found to be but a vague word, which men continually utter, being able to attach to it only such ideas or qualities as are belied by the facts, or which evidently contradict each other."

"I have no reason to suppose that Lenin gained his ideas from my books; but if that were true, I should be not a little proud of having contribute to the intellectual development of a man who seems to me to be at once the greatest theoretician of socialism since Marx and a statesman whose genius recalls that of Peter the Great."

"Lenin may be proud of what his comrades are doing; the Russian workers are acquiring immortal glory in attempting the realization of what hitherto had been only an abstract idea….."

"Mussolini is a man no less extraordinary than Lenin. He, too, is a political genius, of a greater reach than all the statesmen of the day, with the only exception of Lenin…"

"Mussolini is not an ordinary socialist. You will perhaps see him one day as a leader of a consecrated battalion, saluting the flags of Italy with his sword. He is an Italian of the fifteenth century, a condottiere. He is the only man with the strength to correct the weakness of the government."

"Engels feared that the Socialists, in order to gain adherents in the electoral struggles rapidly, would make promises which were contrary to Marxist doctrine. The antisemites told the peasants and the small shopkeepers that they would protect them from the development of capitalism. Engels thought that an imitation of this procedure would be dangerous, since, in his opinion, the could only be realised when capitalism had almost completely destroyed the small proprietors and small industries; if the Socialists, then, endeavoured to hinder this evolution, they would ultimately compromise their own cause."

"All the future of socialism resides in the autonomous development of workers’ ."

"[Myths] are not descriptions of things, but expressions of a determination to act… A myth cannot be refuted since it is, at bottom, identical with the convictions of a group, being the expression of these convictions in the language of movement."

"Revolutionary keeps alive the desire to strike in the masses and only prospers when important strikes, accompanied by violence, take place."

"And so I am not concerned to justify the perpetrators of violence but to enquire into the function of the violence of the working classes in contemporary socialism."

"Everyone explains that discussions about Socialism are exceedingly obscure; this obscurity is due, to a large extent, to the fact that contemporary socialists use a terminology which no longer corresponds to their ideas."

"It is very difficult to understand proletarian violence as long as we try to think in terms of the ideas disseminated by bourgeois philosophy; according to this philosophy, violence is a relic of barbarism which is bound to disappear under the progress of enlightenment."

"Thus proletarian violence has become an essential factor in Marxism. Let us add once more that, if properly conducted, it will have the result of suppressing parliamentary socialism, which will no longer be able to pose as the leader of the working classes and as the guardian of order."

"Proletarian violence, carried on as a pure and simple manifestation of the sentiment of class struggle, appears thus as a very fine and heroic thing; it is at the service of the immemorial interests of civilization; it is not perhaps the most appropriate method of obtaining immediate material advantages, but it may save the world from barbarism."

"We have the right to conclude from this that syndicalist violence, perpetrated in the course of strikes by proletarians who desire the overthrow of the State, must not be confused with the acts of savagery which the superstition of the State suggested to the revolutionaries of 1793 when they had power in their hands and were able to oppress the conquered – following the principles which they had received from the Church and from the monarchy."

"We must not always attach too much importance to violent attacks on the bourgeoisie; they may be motivated by the desire to reform and to perfect capitalism."

"As the State formerly played a most important part in the revolutions that abolished the old economic systems, so it must again be the State that should abolish capitalism."

"Existing social conditions favour the production of an infinite number of acts of violence and there has been no hesitation in urging the workers not to refrain from brutality when this might do them service."

"It seems that it was the Jews who had entered the who are primarily responsible for the terroristic measures blamed upon the bolsheviks. This hypothesis appears to me to be all the more reasonable given that the intervention of the Jews in the has not been a happy one."

"Sorel the Dreyfusard eventually developed into a bitter anti-semite, calling upon Europe to defend itself against the Jewish peril in the same way as America fought the Yellow peril; he blamed the Chekist terror on the Jewish members of the Bolshevik party."

"In ignoring the important fundamental contribution of the followers of Marx, and by insisting exclusively on the phenomenon of superficial adaptation and variation, Sorel passed in silence over all that was healthy, live and fruitful in the Marxist doctrine."

"I owe most to Georges Sorel. This master of syndicalism by his rough theories of revolutionary tactics has contributed most to form the discipline, energy and power of the fascist cohorts."

"The nascent Fascist ideology derived its initial basic content from the syndicalist-nationalist synthesis. This synthesis would not have been possible without the original contribution of Sorel, Sorel who had preached hatred for the heritage of the eighteenth century, for Voltaire and Rousseau, for the French Revolution, for rationalism and optimism, for liberal democracy and bourgeois society;…"

"Sorel supported this opinion and threw himself into a long and violent anti-Semitic campaign. He signed a long article in praise of Urbain Gohier, the most celebrated living anti-Semite, whom he encouraged to continue ‘maintaining that the French must defend their state, their customs, and their ideas against the Jewish invaders who want to dominate everything.’"

"Sorel declared that Marx’s theory was ‘the greatest innovation in philosophy for centuries; it was the starting point of a fruitful transformation in our form of speculation. All our ideas must concentrate round the new principles of scientific socialism.’"

"For this reason Socialists of higher quality and conservative ways of thinking, like Lassalle, supporter of monarchy, and Georges Sorel, who looked upon the defense of fatherland, family, and property as the noblest task of the proletariat are difficult to reconcile with Marx and are therefore never quoted according to their true intent."

"A good prescription is still more profitable than an ."

"Write as if thou wert alone in the universe and hadst nothing to fear from the jealousies and prejudices of the people. Otherwise thou wilt miss thy purpose."

"[B]efore Descartes, some of the ancients made the essence of matter consist in solid extension. But this opinion, of which all the Cartesians have made much, has at all times been victoriously combated..."

"The ancients, persuaded that there is no body without a moving force, regarded the substance of bodies as composed of two primitive attributes. It was held that, through one of these attributes, this substance has the capacity for moving and, through the other, the capacity for being moved."

"[I]f we demonstrate this moving principle, if we show that matter, far from being as indifferent as it is supposed to be, to movement and to rest, ought to be regarded as an active, as well as a passive substance, what resource can be left to those who have made its essence consist in extension?"

"Descartes, a genius made to blaze new paths and to go astray in them, supposed with some other philosophers that God is the only efficient cause of motion, and that every instant He communicates motion to all bodies. But this opinion is but an hypothesis which he tried to adjust to the light of faith; and in so doing he was no longer attempting to speak as a philosopher or to philosophers. Above all he was not addressing those who can be convinced only by the force of evidence."

"The Christian Scholastics... might have shown that God Himself said that He had "imprinted an active principle in the elements of matter (Gen. i; Is. lxvi)."

"We have now but to prove a third attribute: I mean the faculty of feeling which the philosophers of all centuries have found in this same substance. ...[T]he Cartesians have made, in vain, to rob matter of this faculty. But in order to avoid insurmountable difficulties, they have flung themselves into a labyrinth from which they have thought to escape by this absurd system "that animals are pure machines." An opinion so absurd has never gained admittance among philosophers... Experience gives us no less proof of the faculty of feeling in animals than of feeling in men."

"There comes up another difficulty which more nearly concerns our vanity: namely, the impossibility of our conceiving this property [the faculty of feeling] as a dependence or attribute of matter."

"We know in bodies only matter, and we observe the faculty of feeling only in bodies: on what foundation then can we erect an ideal being, disowned by all our knowledge?"

"[W]e must admit, with the same frankness, that we are ignorant whether matter has in itself the faculty of feeling, or only the power of acquiring it by those modifications or forms to which matter is susceptible; for it is true that this faculty of feeling appears only in organic bodies. This is then another new faculty which might exist only potentially in matter, like all the others which have been mentioned; and this was the hypothesis of the ancients, whose philosophy, full of insight and penetration, deserves to be raised above the ruins of the philosophy of the moderns."

"Ancient philosophy will always hold its own among those who are worthy to judge it, because it forms... a system that is solid and well articulated like the body, whereas all these scattered members of modern philosophy form no system."

"It is not enough for a wise man to study nature and truth; he should dare state truth for the benefit of the few who are willing and able to think."

"I reduce to two the systems of philosophy which deal with man's soul. The first and older system is materialism; the second is spiritualism."

"If there is a revelation, it can not then contradict nature."

"[M]an... whatever the origin of his soul, if it is pure, noble, and lofty, it is a beautiful soul which dignifies the man endowed with it."

"[E]ither everything is illusion, nature as well as revelation, or experience alone can explain faith."

"Let us... take in our hands the staff of experience... To be blind and to think that one can do without this staff is the worst kind of blindness."

"The human body is a machine which winds its own springs."

"One needs only eyes to see the necessary influence of old age on reason."

"The soul follows the progress of the body, as it does the progress of education."

"The mind, like the body, has its contagious diseases and its scurvy. ...[W]e catch everything from those with whom we come in contact; their gestures, their accent, etc."

"[A] brilliant man is his own best company, unless he can find other company of the same sort."

"[T]he, diverse states of the soul are always correlative with those of the body."

"In general, the form and the structure of the brains of quadrupeds are almost the same as those of the brain of man..."

"A mere nothing, a tiny fibre, something that could never be found by the most delicate anatomy, would have made of Erasmus and Fontenelle two idiots, and Fontenelle himself speaks of this very fact in one of his best dialogues."

"Among animals, some learn to speak and sing; they remember tunes, and strike the notes as exactly as a musician. Others, for instance the ape, show more intelligence... would it be absolutely impossible to teach the ape a language? I do not think so."

"Let us not limit the resources of nature; they are infinite, especially when reinforced by great art."

"What was man before the invention of words and the knowledge of language? An animal.."

"Man has been trained in the same way as animals. He has become an author, as they became beasts of burden."

"A geometrician has learned to perform the most difficult demonstrations and calculations, as a monkey has learned to take his little hat off and on..."

"As a violin string or a harpsichord key vibrates and gives forth sound, so the cerebral fibres, struck by waves of sound, are stimulated to render or repeat the words that strike them."

"[T]he sciences that are expressed by numbers or by other small signs, are easily learned; and... this facility rather than its demonstrability is what has made the fortune of algebra."

"[E]verything is the work of imagination, and... all the faculties of the soul can be correctly reduced to pure imagination..."

"[W]hy should we divide the sensitive principle which thinks in man? ...For a thing that is divided can no longer without absurdity be regarded as indivisible."

"[I]magination is the soul, since it plays all the roles of the soul."

"Man's preeminent advantage is his organism. ...Only through nature do we have any good qualities; to her we owe all that we are."

"Whatever the virtue may be, from whatever source it may come, it is worthy of esteem... Mind, beauty, wealth, nobility, although the children of chance, all have their own value, as skill, learning and virtue have theirs."

"If one's organism is... the preeminent advantage, and the source of all others, education is the second. The best made brain would be a total loss without it..."

"[H]e who has the most imagination should be regarded as having the most intelligence or genius, for all these words are synonymous..."

"The soul is... but an empty word, of which no one has any idea, and which an enlightened man should use only to signify the part in us that thinks..."

"Julien Offray de la Mettrie, or simply Lamettrie... is one of the most abused, but one of the least read, authors in the history of literature—an author known even superficially to but few of those who thought proper to abuse him when it suited them."

"Lamettrie was not only the extremest of the French Materialists, but was the first also in point of time. ...for several decades men could with virtuous indignation condemn this sinner, while they were gradually absorbing his ideas."

"Hettner forgets his own chronological data when he maintains that Lamettrie, instigated chiefly by Diderot's 'Pensées Philosophiques,' wrote in 1745 the 'Histoire Naturelle de l'Ame,' and in 1748 'L'Homme Machine;' and in Schlosser's ' History of the World' we may read that Lamettrie was a very ignorant man, who had the impudence to pass off the discoveries and observations of others as his own. Only that in nearly every case where we find a striking similarity of ideas between Lamettrie and any famous contemporary of his, the former had an indisputable priority!"

"With regard to the questions with which we are concerned, Lamettrie stands at the commencement of the whole series."

"Unity of principle in the multiplicity of organisms... we find it developed with great clearness and distinctness by Lamettrie as early as the 'L'Homme Plante' in 1748. Lamettrie was led to write this treatise by Linné's just published pioneering work on the classification of plants (1747), just as we find in all his writings constant traces of the zealous following up of the newest scientific investigations. Lamettrie cites Linné; none of the later writers think it necessary to cite Lamettrie... Whoever swims with the stream of tradition and neglects the chronology, will of course represent the 'ignorant' Lamettrie as decking himself with borrowed plumes!"

"[I]n [Lamettrie's] ' Natural History of the Soul,' the Materialism is covered only by a very transparent veil. In the same work we find an idea which in all probability afforded the suggestion for Condillac's sensitive statue [ Traité des sensations]."

"That the true connection could so long be misrepresented is, next to the influence of Hegel and his school, chiefly to be attributed to the resentment excited by Lamettrie's attack upon the Christian morality. People forgot, in consequence, his theoretical writings; and the calmest and most serious of them, including the 'Natural History of the Soul,' were most completely forgotten."

"As a friend, he may have been obliging and self-sacrificing; as an enemy, he was, as in particular had to experience, malicious and low in the choice of his means."

"In the year 1742 he... received there a position as surgeon to the Guard. In this capacity he made a campaign in Germany, and... was seized by a violent fever, and used this opportunity in order to institute observations upon himself as to the influence of quickened circulation upon thought. He came to the conclusion that thought is nothing but a consequence of the organisation of our mechanism. ...[H]e tried during his convalescence to explain the mental functions by the help of anatomy, and he had his conjectures printed under the title of a 'Natural History of the Soul.' The regimental chaplain sounded the alarm, and soon a universal cry of indignation was raised... His books were recognised as heretical, and he could no longer continue to be surgeon of the Guard. ...about the same time ...writing a satire on his rivals, the foremost Paris practitioners. ...He fled in the year 1746 to Leyden. Here he wrote ...a new satire upon the charlatanism and ignorance of doctors, and soon afterwards (1748) appeared also his 'Homme Machine.'"

"The 'Natural History of the Soul' begins by showing that as yet no philosopher, from Aristotle down to Malebranche, had been able to account for the nature of the soul."

"Very ingeniously Lamettrie observes that at bottom I am immediately certain only of my own feeling. That other men also feel, I conclude with very much stronger conviction from the expression of their feelings in gestures and cries than from their articulate speech. That energetic language of the emotions is, however, the same in the animals as in men, and it carries with it much stronger proof than all the sophisms of Descartes. ...[T]he internal organisation of man and of the animals offers a perfect analogy. If it remains for the present incomprehensible how the capability of feeling can be an attribute of matter, it is with this, as with a thousand other puzzles, in which, according to an idea of Leibniz, instead of the thing itself we see only the veil that hides it. ...[S]ensation, like motion, must at all events potentially belong to all matter. So thought the ancients, whose philosophy is preferred by all capable minds to the inadequate attempts of the moderns. After this Lamettrie passes to the doctrine of substantial forms..."

"Whether the soul occupies only a particular point or a circuit we do not know, but as all nerves do not meet in one point in the brain, the former supposition is improbable. All knowledge is in the soul only at the moment in which it is affected by it; all preservation of it is to be resolved into organic conditions. Thus the 'Natural History of the Soul,' starting from ordinary notions, gradually leads us on into Materialism, and it is concluded that... which feels must also be material. How this comes about Lamettrie too does not know; but why should we (according to Locke) limit the omnipotence of the Creator because of our ignorance? Memory, imagination, passions, and so on, are then explained in a thoroughly materialistic way."

"The very much shorter section on the rational soul discusses freedom, reflection, judgment, and so on, with the same strong leaning to Materialism there follows a chapter over which is written, "...religious faith alone can confirm our belief as to the existence of a rational soul." ...[T]he object... is to show how metaphysics and religion came to adopt the notion of a soul, and it concludes by saying that true philosophy freely confesses that the... soul is unknown to her. ...[M]ention is also made of Voltaire's phrase, 'I am body, and I think;' and Lamettrie refers with pleasure to the way in which Voltaire scoffs at the Scholastic proof for the proposition that no matter can think."

"[T]he last chapter... bears the title, " Narratives which prove that all Ideas are derived from the Senses." ...Everywhere the consequence is drawn that only the education he receives through the senses makes man man, and gives him what we call the soul, while no development of the mind from within outwards ever takes place."

"Lamettrie goes back to the father of the Church, Arnobius, from whose book, ' Adversus Gentes,' he borrows a hypothesis, which possibly became the original of the statue-man which plays its part in Diderot, Buffon, and particularly in Condillac. Let us suppose that in a feebly illuminated subterranean chamber, from which all sounds and sense-impressions are far removed, a new-born child is scantily nourished by a naked and ever-silent nurse... reared up without any knowledge... of the world or of human life until the age of... forty years. Then let this being leave his solitude. And now let him be asked what thoughts he has had in his solitude, and how he has been nourished and brought up. He will make no answer; he will not even know that the sound addressed to him has any meaning. Where now is that immortal particle of deity? Where is the soul that enters the body so well taught and enlightened? Like Condillac's statue, then, this creature, which has only the shape and the physical organisation of a man, must be supposed to have received feelings through the use of the senses that gradually arrange themselves, and education must do what else is necessary to give him the soul, the capacity for which is only dormant in his physical organisation. Although Cabanis, as pupil of Condillac, rightly rejected this unnatural hypothesis, we must nevertheless concede to it a certain justification as compared with the extremely weak foundation of the Cartesian doctrine of innate ideas."

"In conclusion, Lamettrie lays down the principles, " No senses, no ideas." " The fewer senses, the fewer ideas." " Little education, few ideas." " No sense-impressions, no ideas.""

"[H]e... finally concludes: " The soul, then, depends essentially upon the organs of the body, with which it is formed, grows, decreases: 'Ergo participem leti quoque convenit esse.' ""

"In very different fashion does the book set to work that already in its very title declares that man is a machine. While the 'Natural History of the Soul' was cautious, cunningly arranged, and only gradually surprising us with its results, here, on the contrary,the final conclusion is expressed at the outset of the work. While the 'Natural History of the Soul' allied itself with the whole Aristotelian metaphysics only in order to prove by degrees that the soul is but an empty form, into which we may pour a materialistic content, here we no longer deal in all those fine distinctions."

"These features show truly the master Of jollities, laughter and wit; Too bold he was in his nature To take off the corners of it. He would have been but for one sage The victim alas! of the fools of his age."

"La Mettrie was born with a fund of natural and inexhaustible gaiety; he had a quick mind, and such a fertile imagination that it made flowers grow in the arid field of medicine. Nature had made him an orator and a philosopher; but a yet more precious gift which he received from her was a pure soul and an obliging heart. All those who are not imposed upon by the pious insults of the theologians mourn in La Mettrie a good man and a wise physician."

"Lamettrie is a bold who sees in materialism only the justification of his profligacy."

"La Mettrie who had himself painted and engraved as a second Democritus laughs only the first time one looks at him. Repeated contemplation changes the philosopher into a fool, his laughter changes into a grin."

"Is not the cruel will of adults, by causing birth, condemning children to work, discipline, obedience, submission, frustration in a nursery, primary school, middle school, high school, university or army, and then in a factory, in a workshop, in a company or in an office? Should we call love transmitting this vileness to the body from our own body?"

"Those childless by choice love children as much, if not more, than their fertile breeders. When asked why he does not have children, Thales replied, "because of my concern for children.""

"Why make children? In the name of what? To achieve what? What legitimizes pulling a being out of nothingness, disturbing its peace, only so that it would have to take a short walk on this planet, leading back to the nothingness from which it was pulled out?"

"... In the case of ordinary differential equations, the arbitrary elements being numerical parameters, we have to determine them by an equal number of numerical equations, so that, at least theoretically, the question may be considered as solved, being reduced to ordinary algebra; but for partial differential equations, the arbitrary elements consist of functions, and the problem of their determination may be the chief difficulty in the question. ..."

"In the case of partial differential equations employed in connection with physical problems, their use must be given up in most circumstances, for two reasons: first, it is in general impossible to get the general solution or general integral, and second, it is in general of no use even when it is obtained."

"Just after the discovery of infinitesmal calculus, physicists began by needing only very simple methods of integration, the problems in general reducing to elementary differential equations. But when higher partial differential equations were introduced, the corresponding problems almost immediatelly proved to be far above the level of those which contemporary mathematics could treat."

"We are going to speak of the role of analysis situs in our modern mathematics. This theory is also called the geometry of situation. It is the study of connection between different parts of geometrical configurations which are not altered by any continuouse deformation. For instance, a sphere and a cube are considered as one and the same thing from the point of view of the geometry of situation, because one can be transformed into the other without separating parts, or uniting parts which formerly were separated."

"... Let a perturbation be produced anywhere, like sound; it is not immediately perceived at every other point. There are then points in space which the action has not reached in any given time. Therefore the wave, in that sense a surface, separates the medium into two portions (regions): the part which is at rest, and the other which is in motion due to the initial vibration. These two portions of space are contiguous. It was only in 1887 that Hugoniot, a French mathematician, who died prematurely, showed what the surface of the wave can be; and even his work was not well known until Duhem pointed out its importance in his work on mathematical physics."

"The systematic study of the singularities of analytic functions was begun by Hadamard. In 1901, a very valuable account of his own investigations together with those of other early workers, as Fabry, Leau, LeRoy, Borel and others, was presented by Hadamard in his now classic little book La Série de Taylor et son Prolongement Analytique published in the Collection Scientia (No. 12)."

"... Professor Hadamard concludes that the general pattern of invention, or, as it might also be put, of original work, is three-fold : conscious study, followed by unconscious maturing, which leads in turn to the moment of insight or illumination. Thereupon another period of conscious work ensues, the purpose of which is to achieve a synthesis of several elements: the novel idea, its logically deduced consequences including proof, and the traditional knowledge to which the new item is added."

"All those who were acquainted with Hadamard know that until the end of his very long life, he retained an extraordinary freshness of mind and character: in many respects, his reactions remained those of a fourteen-year-old boy. His kindness knew no bounds. The warmth with which Hadamard received me in 1921 eliminated all distance between us. He seemed to me more like a peer, infinitely more knowledgeable but hardly any older; he needed no effort at all to make himself accessible to me."

"Starting with "I think," Descartes fixed his attention only on the "think," completely neglecting the "I." Now, this I is essential. For Man, and consequently the Philosopher, is not only Consciousness, but also—and above all—Self-Consciousness. Man is not only a being that thinks—i.e., reveals Being by Logos, by Speech formed of words that have a meaning. He reveals in addition—also by Speech—the being that reveals Being, the being that he himself is, the revealing being that he opposes to the revealed being by giving it the name Ich or Selbst, I or Self."

"The being invested with authority is then necessarily an agent, and the authoritarian act is always an absolute (conscious and free) act. However, the authoritarian act is distinguished from all other acts by the fact that it does not encounter opposition from the person or persons towards whom it is directed. This in turn presupposes both the possibility of opposing it and the conscious and voluntary renunciation of realising this possibility."

"If, in order to make someone get out of my room, I have to use force, I have to change my own behaviour to realise the act in question, and I show through this behaviour that I have no authority; things are completely different if I do not move and this person leaves the room, that is to say, changes, as a result of my simply saying 'get out!' If the given order provokes a discussion, that is to say, forces the one who gives it to do something himself – namely engage in a discussion – as a function of this order, then there is no authority. And even less so if the discussion leads to giving up the order or even to a compromise, that is to say, precisely to changing the act that was supposed to provoke an outward change without itself changing."

"Given that God incarnates the summum of authority, it is no surprise that we find in the theological theory all the four pure types we have enumerated. God is for man 'Master' and 'Lord'. The Authority of the Master is therefore an integral element of global divine Authority. But God is also a 'Leader', the 'Lord of hosts' (Seboath), the political leader who guides his people while having knowledge in advance of their destinies. The element of the Authority of the Leader, therefore, is also involved in divine Authority. At the same time, 'divine Justice' is a religious category of primary importance, God being always conceived as the supreme Judge of man, as the sovereign embodiment of Justice and Equity: divine Authority integrates, therefore, also the element of the Authority of the Judge."

"God is always, more or less, a custodian God: He is some sort of a 'cause' to the social or political group that 'recognises' His Authority. He is the one who guarantees continuity ('filiation') – that is to say, the unity of the group – and fixes its 'personality', its 'individuality' (that is distinct from others), by determining its origin. Hence the 'traditional' character of the divinity of the (sacred) divine: God is always the God of ancestors ('the God of Abraham, Isaac and Jacob'). Hence also the (sacred) divine character of every 'tradition': the past that determines the present is generally reduced, eventually, to a divine origin."

"Obviously, absolute Authority in the strong sense of the word is never realised in fact. Only God is held to possess it."

"As for the Minority, its very existence proves that it does not recognise the Authority of the Majority, since forming a minority means precisely being opposed to the majority, and so 'reacting' (in one way or another) against its acts. But, where there is no Authority, 'reactions' can only be removed by force. Therefore, wherever the Majority claims a sui generis would-be 'Authority' resulting form its sheer number, it is in fact claiming pure and simple force. (A regime that is based purely and solely on a majority is a regime founded on force only. The 'majority' regime can therefore be contrasted with the 'authoritarian' one; the latter rests on Authority, while the former rests on force.)"

"True, since the Minority is necessarily weaker (physically, that is to say quantitatively) than the Majority, its power can only derive from its Authority (minority regimes are necessarily 'authoritarian'). But this Authority never derives from the fact that the Minority is a Minority. The 'justification' ('propaganda') is always of the kind: "even though we are only a minority, we . . ." The Authority that is endorsed by a Minority 'justifies' itself or explains itself by 'quality' and not by quantity. (Even the 'snob' claims to belong to the elite and not to the minority.)"

"The Authority of the 'man of the moment' pertains to the fact that it is he, par excellence, who represents 'actuality', the Present, the 'real presence' of something in the world (Hegel's Gegenwart), as opposed to the 'poetic' unreality of the past and the 'utopian' unreality of the future."

"It is from Eternity that the representatives of God on earth derive their Authority."

"There has to be a risk of the death sentence in order for 'mastery' to exist."

"In all times and ages, political crimes have always been punished more severely than others – even in the degenerate State of Nicholas II. The fact that in modern 'democracies' we lean towards political clemency proves only one thing: the loss of any sense of the 'political' in general."

"A Revolution is nothing other than the replacement of one given type of Authority with another."

"A brilliant Russian émigré who taught a highly influential series of seminars in Paris. Kojève had a major impact on the intellectual life of the continent. Among his students ranged such future luminaries as Jean-Paul Sartre and Raymond Aron."

"Kojève is the unknown Superior whose dogma is revered, often unawares, by that important subdivision of the "animal kingdom of the spirit" in the contemporary world—the progressivist intellectuals."

"Kojeve learned from Hegel that the philosopher seeks to know himself or to possess full self-consciousness, and that, therefore, the true philosophic endeavor is a coherent explanation of all things that culminates in the explanation of philosophy. The man who seeks any other form of knowledge, who cannot explain his own doings, cannot be called a philosopher."

"The dream of every cell is to become two cells."

"Evolution is a tinkerer, not an engineer."

"The analogy I've been using is the fact that perhaps an equivalent event in the history of humanity to what might be provided by Generalization of AI assistant is the invention of the printing press. It made everybody smarter."

"AI is going to bring a new renaissance for humanity, a new form of enlightenment, if you want, because AI is going to amplify everybody's intelligence."

"The direction of history is that the more data we get, the more our methods rely on learning. Ultimately, the task use learning end to end. That's what happened for speech, handwriting, and object recognition. It's bound to happen for NLP."

"[AI progres is very dependent on Moore's law.] The one thing that allowed big progress in computer vision with ConvNets is the availability of GPUs with performance over 1 Tflops."

"Don't get fooled by people who claim to have a solution to Artificial General Intelligence, who claim to have AI systems that work "just like the human brain", or who claim to have figured out how the brain works (well, except if it's Geoff Hinton making the claim). Ask them what error rate they get on MNIST or ImageNet."

"My problem with sticking too close to nature is that it's like "cargo-cult" science... I don't use neural nets because they look like the brain. I use them because they are a convenient way to construct parameterized non-linear functions with good properties. But I did get inspiration from the architecture of the visual cortex to build convolutional nets."

"Many of the papers that make it passed the review process are [good but boring] papers that bring an improvement to a well-established technique... Truly innovative papers rarely make it, largely because reviewers are unlikely to understand the point or foresee the potential of it."

"I try to stay away from all methods that require sampling. I must have an allergy of some sort. That said, I am neither Bayesian nor anti-Bayesian... I think Bayesian methods are really cool conceptually in some cases... but I really don't have much faith in things like non-parametric Bayesian methods..."

"Every reasonable ML technique has some sort of mathematical guarantee. For example, neural nets have a finite VC dimension, hence they are consistent and have generalization bounds... every single bound is terrible and useless in practice. As long as your method minimizes some sort of objective function and has a finite capacity (or is properly regularized), you are on solid theoretical grounds."

"[Large language models] require enormous amounts of data to reach a level of intelligence that is not that great in the end. And they can't really reason. They can't plan anything other than things they’ve been trained on. So they're not a road towards what people call “AGI.”"

"I don't like to call [human intelligence] AGI because human intelligence is not general at all."

"The vast majority of human knowledge is not expressed in text... LLMs do not have that, because they don't have access to it. And so they can make really stupid mistakes. That’s where hallucinations come from."

"[Can a commercial entity] produce Wikipedia? No. Wikipedia is crowdsourced because it works. So it's going to be the same for AI systems, they're going to have to be trained, or at least fine-tuned, with the help of everyone around the world. And people will only do this if they can contribute to a widely-available open platform."