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Mavis
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“There is no love without desire, diffidence, defeat.”
― Enigma Variations
― Enigma Variations
“Or take this girl, for example. At a meeting just outside Paris, a fifteen-year-old girl came up to me and said that she'd been to see [The Double Life of] Véronique. She'd gone once, twice, three times and only wanted to say one thing really - that she realized that there is such a thing as a soul. She hadn't known before, but now she knew that the soul does exist. There's something very beautiful in that. It was worth making Véronique for that girl. It was worth working for a year, sacrificing all that money, energy, time, patience, torturing yourself, killing yourself, taking thousands of decisions, so that one young girl in Paris should realize that there is such a thing as a soul. It's worth it.”
― Kieslowski on Kieslowski
― Kieslowski on Kieslowski
“For us, eating and being eaten belong to the terrible secret of love. We love only the person we can eat. The person we hate we ‘can’t swallow.’ That one makes us vomit. Even our friends are inedible. If we were asked to dig into our friend’s flesh we would be disgusted. The person we love we dream only of eating. That is, we slide down that razor’s edge of ambivalence.
The story of torment itself is a very beautiful one. Because loving is wanting and being able to eat up and yet to stop at the boundary. And there, at the tiniest beat between springing and stopping, in rushes fear. The spring is already in mid-air. The heart stops. The heart takes off again. Everything in love is oriented towards this absorption.
At the same time real love is a don’t-touch, yet still an almost-touching. Tact itself: a phantom touching.
Eat me up, my love, or else I’m going to eat you up.
Fear of eating, fear of the edible, fear on the part of the one of them who feels loved, desired, who wants to be loved, desired, who desires to be desired, who knows there is no greater proof of love than the other’s appetite, who is dying to be eaten up, who says or doesn’t say, but who signifies: I beg you, eat me up. Want me down to the marrow. And yet manage it so as to keep me alive. But I often turn about or compromise, because I know that you won’t eat me up, in the end, and I urge you: bite me.
Sign my death with your teeth”
― Stigmata: Escaping Texts
The story of torment itself is a very beautiful one. Because loving is wanting and being able to eat up and yet to stop at the boundary. And there, at the tiniest beat between springing and stopping, in rushes fear. The spring is already in mid-air. The heart stops. The heart takes off again. Everything in love is oriented towards this absorption.
At the same time real love is a don’t-touch, yet still an almost-touching. Tact itself: a phantom touching.
Eat me up, my love, or else I’m going to eat you up.
Fear of eating, fear of the edible, fear on the part of the one of them who feels loved, desired, who wants to be loved, desired, who desires to be desired, who knows there is no greater proof of love than the other’s appetite, who is dying to be eaten up, who says or doesn’t say, but who signifies: I beg you, eat me up. Want me down to the marrow. And yet manage it so as to keep me alive. But I often turn about or compromise, because I know that you won’t eat me up, in the end, and I urge you: bite me.
Sign my death with your teeth”
― Stigmata: Escaping Texts
“I don’t feel guilt at being unsociable, though I may sometimes regret it because my loneliness is painful. But when I move into the world, it feels like a moral fall – like seeking love in a whorehouse.”
― As Consciousness is Harnessed to Flesh: Journals and Notebooks, 1964-1980
― As Consciousness is Harnessed to Flesh: Journals and Notebooks, 1964-1980
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