To try to write love is to confront the muck of language: that region of hysteria where language is both too much and too little, excessive and impoverished.
Who speaks is not who writes, and who writes is not who is.
The author enters into his own death, writing begins.
Thus every writer's motto reads: mad I cannot be, sane I do not deign to be, neurotic I am.
To know that one does not write for the other, to know that these things I am going to write will never cause me to be loved by the one I love (the other), to know that writing compensates for nothing, sublimates nothing, that it is precisely there where you are not--this is the beginning of writing.
The text you write must prove to me that it desires me. This proof exists: it is writing. Writing is: the science of the various blisses of language, its Kama Sutra (this science has but one treatise: writing itself).
We can never know, for the good reason that writing is the destruction of every voice, every origin. Writing is that neuter, that composite, that obliquity into which our subject flees, the black-and-white where all identity is lost, beginning with the very identity of the body that writes.
Take the gesture, the action of writing. I have an almost obsessive relation to writing instruments. I often switch from one pen to another just for the pleasure of it. I try out new ones. I have far too many pens - I don't know what to do with all of them! And yet, as soon as I see a new one, I start craving it. I cannot keep myself from buying them.
Are not couturiers the poets who, from year to year, from strophe to strophe, write the anthem of the feminine body?
The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.
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