"We are still living under the reign of logic: this, of course, is what I have been driving at. But in this day and age logical methods are applicable only to solving problems of secondary interest. The absolute rationalism that is still in vogue allows us to consider only facts relating directly to our experience. Logical ends, on the contrary, escape us. It is pointless to add that experience itself has found itself increasingly circumscribed. It paces back and forth in a cage from which it is more and more difficult to make it emerge. It too leans for support on what is most immediately expedient, and it is protected by the sentinels of common sense."

"I could spend my whole life prying loose the secrets of the insane. These people are honest to a fault, and their naivety has no peer but my own."

"Surrealism will usher you into death, which is a secret society. It will glove your hand, burying therein the profound M with which the word Memory begins. Do not forget to make proper arrangements for your last will and testament: speaking personally, I ask that I be taken to the cemetery in a moving van. May my friends destroy every last copy of the printing of the Speech concerning the Modicum of Reality."

"If the depths of our mind contain within it strange forces capable of augmenting those on the surface, or of waging a victorious battle against them, there is every reason to seize them - first to seize them, then, if need be, to submit them to the control of our reason. The analysts themselves have everything to gain by it. But it is worth noting that no means has been designated a priori for carrying out this undertaking, that until further notice it can be construed to be the province of poets as well as scholars, and that its success is not dependent upon the more or less capricious paths that will be followed."

"Freud very rightly brought his critical faculties to bear upon the dream. It is, in fact, inadmissible that this considerable portion of psychic activity (since, at least from man’s birth until his death, thought offers no solution of continuity, the sum of the moments of the dream, from the point of view of time, and taking into consideration only the time of pure dreaming, that is the dreams of sleep, is not inferior to the sum of the moments of reality, or, to be more precisely limiting, the moments of waking) has still today been so grossly neglected."

"I have always been amazed at the way an ordinary observer lends so much more credence and attaches so much more importance to waking events than to those occurring in dreams. It is because man, when he ceases to sleep, is above all the plaything of his memory, and in its normal state memory takes pleasure in weakly retracing for him the circumstances of the dream, in stripping it of any real importance, and in dismissing the only determinant from the point where he thinks he has left it a few hours before: this firm hope, this concern. He is under the impression of continuing something that is worthwhile. Thus the dream finds itself reduced to a mere parenthesis, as is the night. And, like the night, dreams generally contribute little to furthering our understanding. This curious state of affairs seems to me to call for certain reflections."

"Why should I not expect from the sign of the dream more than I expect from a degree of consciousness which is daily more acute? Can’t the dream also be used in solving the fundamental questions of life? Are these questions the same in one case as in the other and, in the dream, do these questions already exist? Is the dream any less restrictive or punitive than the rest? I am growing old and, more than that reality to which I believe I subject myself, it is perhaps the dream, the difference with which I treat the dream, which makes me grow old."

"Let me come back again to the waking state. I have no choice but to consider it a phenomenon of interference. Not only does the mind display, in this state, a strange tendency to lose its bearings (as evidenced by the slips and mistakes the secrets of which are just beginning to be revealed to us), but, what is more, it does not appear that, when the mind is functioning normally, it really responds to anything but the suggestions which come to it from the depths of that dark night to which I commend it."

"The mind of the man who dreams is fully satisfied by what happens to him. The agonizing question of possibility is no longer pertinent. Kill, fly faster, love to your heart's content. And if you should die, are you not certain of re-awaking among the dead? Let yourself be carried along, events will not tolerate your interference. You are nameless. The ease of everything is priceless."

"What reason, I ask, a reason so much vaster than the other, makes dreams seem so natural and allows me to welcome unreservedly a welter of episodes so strange that they could confound me now as I write? And yet I can believe my eyes, my ears; this great day has arrived, this beast has spoken."

"Surrealist methods would, moreover, demand to be heard. Everything is valid when it comes to obtaining the desired suddenness from certain associations. The pieces of paper that Picasso and Braque (in this quotation Breton refers to the early collage art of the two Cubists, ed.) insert into their work have the same value as the introduction of a platitude into a literary analysis of the most rigorous sort. It is even permissible to entitle POEM what we get from the most random assemblage possible (observe, if you will, the syntax) of headlines and scraps of headlines cut out of the newspapers."

"A story is told according to which Saint-Pol-Roux, in times gone by, used to have a notice posted on the door of his manor house in Camaret, every evening before he went to sleep, which read: ‘THE POET IS WORKING’."

"In those days, a man at least as boring as I, Pierre Reverdy, was writing: 'The image is a pure creation of the mind. It cannot be born from a comparison but from a juxtaposition of two more or less distant realities. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be – the greater its emotional power and poetic reality..' (in the 'Nord-Sud', March 1918). These words, however sibylline for the uninitiated, were extremely revealing, and I pondered them for a long time."

"Apollinaire asserted that Chirico's first paintings were done under the influence of kinesthetic disorders (migraines, colic, etc.)"