For reasons that I have revealed quite frankly in the third chapter of the first volume of my panegyric, the traces of my handwriting -- which isn't exactly legible -- have become even worse with time. Nevertheless, always using the machine doesn't appear suitable to our correspondence. Thus I once undertook a certain effort towards transparency on this terrain. "It is done," as Lautreamont says. Moreover, I can assure you that I do not know how to type on a machine anymore, but fortunately someone has the ability to decipher me.
Thanks are long due for the books on Sade. I immediately read the shortest one, and Bloc d'abime soon afterwards. Your Sade is the true one, I am sure of it. I must also confess that I am hardly a scholarly Sadian. Of all the specialists that you mention, I believe I have only read Heine and Lely, the first being much more likable to me than the second (and it has been such a long time that I would not even be able to say why). And, nevertheless, Apollinaire. But what Andre Breton said was sufficient to pull me in. Then I vaguely knew, thanks to public rumor, that Sade was too "Nazi" for the Stalinists and too "great lord" for the Socialists, but I never read what they wrote. Thus I easily believe that you are right to send back so many other experts to Literature, or even to the alcove of God's yelpers.
It is only in your books that I have learned several important things that I previously did not know. I have been delighted to learn, so late, that the 120 Days was in fact a completed manuscript. I have always felt the "artistic" perfection of the form [of the book] that we know, but I would have believed, naturally, that it was only due to a historical accident that was fortunate in the final analysis. The parallel that you draw with Machiavelli pleased me greatly. And perhaps even more [pleased] with what you say about the effects of this complete re-reading in Paris and New York. One won't forget these beautiful birds of prey.
I also want to thank you -- and this dates from a little further back -- for introducing me to Abu l-Ala al-Ma'arri. What is marvelous to me is not so much that an Arabic lyric such as this one could have been written in the 11th century: it is that it has found someone at the end of the 20th century to find such a beautiful equivalent for it in French. I still believe that there is hardly any difference between our judgments of poetry.Very amicably,
 Translator's note: the typewriter.
 See letter dated 4 October 1989.
 Translator's note: Alice Becker-Ho, who typed up and kept carbon-copies of Guy's handwritten letters.
 Le Chateaux de la subversion. [Translator: published in 1982 by Jean-Jacques Pauvert.]
 Soudain un bloc d'abime, Sade. [Translator: published in 1986 by Jean-Jacques Pauvert.]
 Maurice Heine, Le Marquis de Sade and Gilbert Lely, Vie du marquis de Sade.
 L'oeuvre du marquis de Sade. Essai bibliographique.
 Rets d'eternite, translated from the Arabic by Adonis and Anne Wade Minkowski.
(Published in Guy Debord Correspondance, Vol 7: Janvier 1988-Novembre 1994 by Librairie Artheme Fayard, 2008. Translated from the French by NOT BORED! December 2008. Footnotes by the publisher, except where noted.)