I do everything I think possible or acceptable to escape from this trap.

I do everything I think possible or acceptable to escape from this trap.

I have always had school sickness, as others have seasickness. I cried when it was time to go back to school long after I was old enough to be ashamed of such behavior.

We are all mediators, translators.

Whatever precautions you take so the photograph will look like this or that, there comes a moment when the photograph surprises you. It is the other's gaze that wins out and decides.

The circle of the return to birth can only remain open, but this is a chance, a sign of life, and a wound.

These critics organize and practice in my case a sort of obsessive personality cult which philosophers should know how to question and above all, to moderate.

The boarding-school experience in Paris was very hard, I didn't put up with it very well. I was sick all the time, or in any case frail, on the edge of a nervous breakdown.

The first problem of the media is posed by what does not get translated, or even published in the dominant political languages.

In philosophy, you have to reckon with the implicit level of an accumulated reserve, and thus with a very great number of relays, with the shared responsibility of these relays.

I became the stage for the great argument between Nietzsche and Rousseau. I was the extra ready to take on all the roles.

To pretend, I actually do the thing: I have therefore only pretended to pretend.

Who ever said that one was born just once?

My most resolute opponents believe that I am too visible, that I am a little too alive, that my name echoes too much in the texts which they nevertheless claim to be inaccessible.

Why is it the philosopher who is expected to be easier and not some scientist who is even more inaccessible?

Every discourse, even a poetic or oracular sentence, carries with it a system of rules for producing analogous things and thus an outline of methodology.

As soon as there is language, generality has entered the scen.

In Algeria, I had begun to get into literature and philosophy. I dreamed of writing-and already models were instructing the dream, a certain language governed it.

I wrote some bad poetry that I published in North African journals, but even as I withdrew into this reading, I also led the life of a kind of young hooligan.

If this work seems so threatening, this is because it isn't simply eccentric or strange, but competent, rigorously argued, and carrying conviction.

These years of the Ecole Normale were an ordeal. Nothing was handed to me on the first try.

I have always had trouble recognizing myself in the features of the intellectual playing his political role according to the screenplay that you are familiar with and whose heritage deserves to be questioned.

No one gets angry at a mathematician or a physicist whom he or she doesn't understand, or at someone who speaks a foreign language, but rather at someone who tampers with your own language.

I do not believe in pure idioms. I think there is naturally a desire, for whoever speaks or writes, to sign in an idiomatic, irreplaceable manner.

I never give in to the temptation to be difficult just for the sake of being difficult. That would be too ridiculous.

Certain readers resented me when they could no longer recognize their territory, their institution.

Still today, I cannot cross the threshold of a teaching institution without physical symptoms, in my chest and my stomach, of discomfort or anxiety. And yet I have never left school.

Everything is arranged so that it be this way, this is what is called culture.

As soon as there is language, generality has entered the scene.

The end approaches, but the apocalypse is long lived.

The circle of the return to birth can only remain open but this is a chance a sign of life and a wound.

Everything is arranged so that it be this way this is what is called culture.

Speech is a text, gesture is a text, reality is a text in this new sense. This is not about re-establishing graphocentrism alongside logocentrism or phonocentrism or text-centrism. The text is not a centre. The text is an openness without borders, of ever-differentiating references.

Psychoanalysis has taught that the dead -- a dead parent, for example -- can be more alive for us, more powerful, more scary, than the living. It is the question of ghosts.

A boycott is, inherently, a blunt instrument. It is an imperfect weapon, a carpet bomb, when all involved would prefer a surgical strike.

Different fragrances promote different emotions, and I find that fragrance gets me in the frame of mind for that person.

It's weird: The leader of the Conservative Party in England is two years younger than me, and I still don't really feel like a responsible adult.

Any plan is bad that cannot be changed.

I love building spaces: architecture, furniture, all of it, probably more than fashion. The development procedure is more tactile. It's about space and form and it's something you can share with other people.

If you could say of any one individual that the court as an institution is the length and shadow of that individual, surely it would be John Marshall.

When I was 16 years old, my brother Frank said, 'You'd better become a catcher, because you're too big and fat to do anything else.' Well, I took his advice. It was a quick way to get to the big leagues, and I've never regretted it.

Spending time at the Federal Reserve was a good learning opportunity for me. It helped me to understand economic philosophies and polices that I had not previously known about.

The older you get the farther from the camera you need to be.

Discovering your purpose doesn't have to be complicated. Look at what you do and why you do it. Is it to support your family? That's your purpose. Is it to make a difference in your customer's life? That's your purpose.

May Gods love overshadow you at this time you feel unwell and know were here thinking of you and praying for your good health.

He fashioned hell for the inquisitive.

I consider the world, this Earth, to be like a school, and our life the classrooms.

I don't think I am that materialistic, actually. Obviously at home in the country the art collection is important, but we have one big room in the middle of the house where we do everything - the television, the kitchen, everything.

I've always very earnestly tried to do my best, so I just have to trust that and forgive myself for being fallible.