The despondency that follows makes me feel somewhat like a shipwrecked man who spies a sail, sees himself saved, and suddenly remembers that the lens of his spyglass has a flaw, a blurred spot -- the sail he has seen.
Jean GenetRead
I leave you free to imagine any dialogue you please. Choose whatever may charm you. Have it, if you like, that they hear the voice of the blood, or that they fall in love at first sight... Conceive the wildest improbabilities. Have it that the depths of their beings are thrilled at accosting each other in slang. Tangle them suddenly in a swift embrace or a brotherly kiss. Do whatever you like.
Interpretation
The quote invites readers to use their imagination to create their own narrative and emotions in a given situation.
Jean Genet's quote emphasizes the freedom and power of imagination in storytelling and human connection. He encourages individuals to create their own interpretations of interactions and relationships, allowing for a myriad of possibilities, from romantic encounters to profound emotional connections. This highlights the fluid and subjective nature of experience and the joy of constructing personal meanings.
In practice
In a creative writing workshop, a facilitator might use this quote to inspire students to explore their storytelling limits.
The despondency that follows makes me feel somewhat like a shipwrecked man who spies a sail, sees himself saved, and suddenly remembers that the lens of his spyglass has a flaw, a blurred spot -- the sail he has seen.
Erotic play discloses a nameless world which is revealed by the nocturnal language of lovers. Such language is not written down. It is whispered into the ear at night in a hoarse voice. At dawn it is forgotten.
I'm homosexual. How and why are idle questions. It's a little like wanting to know why my eyes are green.
I wanted to swallow myself by opening my mouth very wide and turning it over my head so that it would take in my whole body, and then the Universe, until all that would remain of me would be a ball of eaten thing which little by little would be annihilated: that is how I see the end of the world.
I decided to be what crime made of me.
It's a true image, born of a false spectacle.
I feel like for me to write songs that I would be interested in as a listener, there has to be tension, and there has to be some kind of push and pull between reality and the potential of disaster.
My friend George and I were walking on the beach in Norfolk, and there were thousands of [razor-clam] shells. They were so beautiful, I thought I had to do something with them. So, we decided to make [a dress] out of them. . . . The shells had outlived their usefulness on the beach, so we put them to another use on a dress. Then Erin [O’Conner] came out and trashed the dress, so their usefulness was over once again. Kind of like fashion, really.
An abstract painting need in 50 years by no means look "abstract" any longer.
I consider space to be a material. The articulation of space has come to take precedence over other concerns. I attempt to use sculptural form to make space distinct.
Silence... is the essence of the music itself, the vital ingredient that makes it possible for the music to exist at all.
If I choose to write about sheep, it's just because I happened to write about sheep. There is no deep significance.
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