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I encounter millions of bodies in my life of these millions, I may desire some hundreds but of these hundreds, I love only one.

Roland Barthes

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Roland Barthes
Age: 64 †
Born: 1915
Born: November 12
Died: 1980
Died: March 25
Diarist
Essayist
Linguist
Literary Critic
Literary Scholar
Literary Theorist
Mythographer
Non-Fiction Writer
Philosopher
Screenwriter
Roland Gérard Barthes
May
Love
Encounter
Life
Encounters
Hundreds
Bodies
Millions
Desire
Body

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When we look at a photograph of ourselves or of others, we are really looking at the return of the dead.
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All of a sudden it didn't bother me not being modern.
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Someone tells me: this kind of love is not viable. But how can you evaluate viability? Why is the viable a Good Thing? Why is it better to last than to burn?
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One must turn the tongue seven times in the mouth before speaking.
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The Text is not a definitive object.
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All those young photographers who are at work in the world, determined upon the capture of actuality, do not know that they are agents of Death.
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If I had to create a god, I would lend him a “slow understanding”: a kind of drip-by-drip understanding of problems. People who understand quickly frighten me.
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The birth of the reader must be at the cost of the death of the Author.
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To dope the racer is as criminal, as sacrilegious, as trying to imitate God it is stealing from God the privilege of the spark.
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The art of living has no history: it does not evolve: the pleasure which vanishes vanishes for good, there is no substitute for it. Other pleasures come, which replace nothing. No progress in pleasures, nothing but mutations.
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Historically and politically, the petit-bourgeois is the key to the century. The bourgeois and proletariat classes have become abstractions: the petite-bourgeoisie, in contrast, is everywhere, you can see it everywhere, even in the areas of the bourgeois and the proletariat, what's left of them.
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To eat, to speak, to sing (need we add: to kiss?) are operations which have the same site of the body for origin.
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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.
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Isn’t the most sensitive point of this mourning the fact that I must lose a language — the amorous language? No more ‘I love you’s.
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Every object in the world can pass from a closed, silent existence to an oral state, open to appropriation by society, for there is no law, whether natural or not, which forbids talking about things
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Tout ce qui est anachronique est obsce' ne. Everything anachronistic is obscene.
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Le langage est une peau: je frotte mon langage contre l'autre. Language is a skin I rub my language against another language.
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Even hidden in the most squalid Parisian halls, wrestling partakes of the nature of the great solar spectacles, Greek drama and bullfights: in both, a light without shadow generates an emotion without reserve.
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In front of the photograph of my mother as a child, I tell myself: she is going to die: I shudder, like winnicott's psychotic patient, over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe.
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Literature is like phosphorus: it shines with its maximum brilliance and the moment when it attempts to die.
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