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We don't forget, but something vacant settles in us.

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
Vacant
Settling
Forget
Something
Settles

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The birth of the reader must be at the cost of the death of the Author.
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The gesture of the amorous embrace seems to fulfill, for a time, the subject's dream of total union with the loved being: The longing for consummation with the other.
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Every photograph is a certificate of presence.
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The unary Photograph has every reason to be banal, 'unity' of composition being the first rule of vulgar (and notably, of academic) rhetoric: 'The subject,' says one handbook for amateur photographers, 'must be simple, free of useless accessories this is called the Search for Unity.
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All of a sudden it didn't bother me not being modern.
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Ultimately, Photography is subversive, not when it frightens, repels, or even stigmatizes, but when it is pensive, when it thinks.
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L'amoureux qui n'oublie pas quelquefois meurt par exce' s, fatigue et tension de me moire (tel Werther). The lover who does not forget sometimes dies from excess, fatigue, and the strain of memory (like Werther).
Roland Barthes
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Every new Fashion is a refusal to inherit, a subversion against the oppression of the preceding Fashion Fashion experiences itself as a Right, the natural right of the present over the past.
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Cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.
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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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A light without shadow generates an emotion without reserve.
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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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What I claim is to live to the full the contradiction of my time, which may well make sarcasm the condition of truth.
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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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I want a History of Looking. For the Photograph is the advent of myself as other: a cunning dissociation of consciousness from identity. Even odder: it was before Photography that men had the most to say about the vision of the double. Heautoscopy was compared with an hallucinosis for centuries this was a great mythic theme.
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Each photograph is read as the private appearance of its referent: the age of Photography corresponds precisely to the explosion of the private into the public, or rather into the creation of a new social value, which is the publicity of the private: the private is consumes as such, publicly.
Roland Barthes
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The haiku reproduces the designating gesture of the child pointing at whatever it is (the haiku shows no partiality for the subject), merely saying: that!
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Tout refus du langage est une mort. Any refusal of language is a death.
Roland Barthes
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Tout ce qui est anachronique est obsce' ne. Everything anachronistic is obscene.
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Literature is that which he can not read without pain, without choking on truth.
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