http://zinelibrary.info/files/jeunefille.pdf
The YoungGirl loves her illusions in the same way as she loves her reification: by proclaiming them.
The YoungGirl sees everything as free of consequences, even her suffering. Everything’s funny, nothing’s a big deal. Everything’s cool, nothing’s serious.
The YoungGirl wants to be recognized not for what she may be but for the simple fact of her being. She wants to be recognized unconditionally.
The YoungGirl is not there to be criticized.
When the YoungGirl has come to the end of the age of childishness, where it becomes impossible to not ask herself about ends without suddenly finding herself short of means (which can happen pretty late in this society), she reproduces. Paternity and maternity comprise just another way among others, and no less free of substance, to remain under the empire of need.
The YoungGirl takes on above all the perspective of psychology, regarding herself as much as regarding the ways of the world. Thus she can present a certain consciousness of her own reification, a consciousness that itself is reified, because it is cut off from all acts.
The YoungGiril knows the standard perversions all too well.
The YoungGirl needs a kind of balance that is less like that of a dancer than it is like that of the accounting expert.
Smiles have never been any good as arguments. There is also such a thing as the smile of skeletons.
The YoungGirl’s feelings are made up of signs, and sometimes just of simple signals.
Everywhere that the ethos is failed or decomposing, the YoungGirl appears as the carrier of the fleeting, colorless morals of the Spectacle.
The YoungGirl’s not supposed to understand you.
The YoungGirl’s predilection for actors and actresses is explained by the elementary laws of magnetism: whereas they represent the positive absence of all quality, nothingness taking on all forms, she is but the negative absence of quality. Thus, the actor is the same as the YoungGirl; both her reflection and her negation.
The YoungGirl conceives of love as being a private activity.
The YoungGirl carries in her laughter all the desolation of late-night bars.
The YoungGirl is the only insect that consents to the entomology of women’s magazines.
Identical to unhappiness in that sense, the YoungGirl is never alone.
Everywhere that the YoungGirls dominate, their tastes must also dominate; that determines the tastes of our era.
The YoungGirl is the purest form of reified relationships; she is the truth behind them. The YoungGirl is the anthropological condensation of reification.
The Spectacle remunerates the YoungGirl’s conformity amply, though it does so indirectly.
In love more than anywhere else, the YoungGirl behaves like an accountant, always assuming that she loves more than she is loved, and that she gives more than she receives.