"To the people of New York, Paris, or London, "death" is a word that is never pronounced because it burns the lips. The Mexican, however, frequents it, jokes about it, caresses it, sleeps with it, celebrates it; it is one of his favorite toys and most steadfast love. Of course, in his attitude perhaps there is as much fear as there is in one of the others; at least he does not hide it; he confronts it face to face with patience, disdain, or irony."

“To read a poem is to hear it with our eyes; to hear it is to see it with our ears.”

“Ought I to say that the form of change is fixity, or more precisely, that change is an endless search for fixity? A nostalgia for inertia: indolence and its frozen paradises. Wisdom lies neither in fixity nor in change, but in the dialectic between the two. A constant coming and going: wisdom lies in the momentary. It is transition. But the moment I say transition, the spell is broken. Transition is not wisdom, but a simple going toward… Transition vanishes: only thus is it transition.”

“Art" is an invention of aesthetics, which in turn is an invention of philosophers…what we call art is a game.”

“Fixity is always momentary. But how can it always be so? If it were, it would not be momentary — or would not be fixity. What did I mean by that phrase? I probably had in mind the opposition between motion and motionlessness, an opposition that the adverb always designates as continual and universal: it embraces all of time and applies to every circumstance. My phrase tends to dissolve this opposition and hence represents a sly violation of the principle of identity. I say “sly” because I chose the word momentary as an adjectival qualifier of fixity in order to tone down the violence of the contrast between movement and motionlessness. A little rhetorical trick intended to give an air of plausibility to my violation of the rules of logic. The relations between rhetoric and ethics are disturbing: the ease with which language can be twisted is worrisome, and the fact that our minds accept these perverse games so docilely is no less cause for concern. We ought to subject language to a diet of bread and water if we wish to keep it from being corrupted and from corrupting us. It is necessary to unweave even the simplest phrases in order to determine what it is that they contain and what they are made of and how . Unweave the verbal fabric: reality will appear. Can reality be the reverse of the fabric, the reverse of metaphor — that which is on the other side of language? Perhaps reality too is a metaphor . Perhaps things are not things but words: metaphors, words for other things. With whom and of what do word-things speak? It may be that, like things which speak to themselves in their language of things, language does not speak of things or of the world: it may speak only of itself and to itself.”

“Repetitions, you wander about lost amid repetitions, you are merely a repetition among other repetitions. An artist of repetitions, a past master of disfigurations, a maestro of demolitions. The trees repeat other trees, the sands other sands, the jungle of letters is repetition, the stretch of dunes is repetition, the plethora is emptiness, emptiness is a plethora, I repeat repetitions, lost in the thicket of signs, wandering about in the trackless sand, stains on the wall beneath this sun of Galta, stains on this afternoon in Cambridge, a thicket and a stretch of dunes, stains on my forehead that assembles and disassembles vague landscapes. You are is a repetition among other repetitions. You are is I am; I am is you are: you are is I. Demolitions: I stretch out full length atop my triturations, I inhabit my demolitions.”

“Between going and staying the day wavers,”