Screen shot 13 02 08 at 05 03
cxplosion$, in short, of impaticnces, of cverything which denies ripening. —And no doubr, rhe astonishmcnt of "that-has-beeri’ will also disappcar. It has alrcady disap-pearcd: I am, I don’t know why, one of its last witncsscs (a wirncss of rhe Inactual), and this book is its archaic tracę.
What is ir that will l>e donc away with, along with this photograph which ycllows, fades, and will someday be thrown out, if noc by me—coo superstirious for rhat—ac leasr when I die? Noc only "lifc" (this was alive, this posed live in front of the lens), but also, somctimes—how to put it?—lovc. In front of the only photograph in which I find my father and mothcr togcther, this couple who I know lovcd each other, I rcalize: it is love-a$-creasure which is going to disappcar forevcr; for once I am gone, no one will any longer be able to testify to this: nothing will remain but an indifferent Naturę. This is a laccration so intensc, so intolerablc, that alone against his century, Michclct conceivcd of History as loves Protest: to per-petuate not only life buc also what hc called, in his vocab-ulary so outdated today, the Good, Justicc, Unity, etc.
39
At tbc time (at the begioning of chis book: alrcady far away) when I was inquiring intomy atrachment to certain photographs, I thought I could distinguish a field of cultural interest (the studium) from that unexpected flash which somerimes crosscs
Alexandkr Gardner : Portrait OF Lewis Paynb. i86j
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