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precisely that hai been, and because I live in thc illusion that it sufficcs to clean the surfacc of the image in order to accede to what is behind: to scrutinize mcans to tum the photograph over, to enter into the papers depth, to reach its other side (what is hidden is for us Wcsterners morę "true" than what is visible). Alas, howcver hard I look, I discovcr nothing: if I enlarge, I see nothing but thc grain of the paper: I undo thc image for the sake of its sub-stance; and if I do not enlarge, if I contenr mysclf with scrutinizing, 1 obcain this sole knowledge. long sińce pos-sessed at first glance: that this indeed has been: the turn of the screw had produced nothing. In front of thc Winter Garden Photograph I am a bad dreamer who vainly holds out his arms toward the possession of thc image; I am Golaud exdaiming “Miscry of my life!” because he will ncvcr know M6lisande's truth. (Mćlisandc docs not con-ceal, but she docs not speak. Such is the Photograph: it cannot say what it lets us see.)
It my efforts are painful, if I am anguished, it is because sometimes I get closer, I am burn-ing: in a certain photograph I bclicve I per-ceive the lincamcncs of truth. This is what happens when I judge a certain photograph "a likeness.’ Yct on thinking it over, I must ask mysclf: Who is likc what? Resemblance is a conformity, but to what? to an identity. Now this identity is imprecise, even imaginary, to the point where I
\Marcelinę ‘Desbordci-Valmore reprodnees in ber faca the slighily siupid virtues of ber vcrses . .
I O O / Nadał: Marcflint DESftOHDF-s.VAt.MORF 1857
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