The sky, at sunset, looked like a carnivorous flower.
Interpretation
The quote uses vivid imagery to compare the beauty of a sunset to a predatory flower, evoking both allure and danger.
Roberto Bolano's quote highlights the breathtaking yet potentially ominous beauty of a sunset. By likening the sky to a 'carnivorous flower', he captures the duality of nature's beauty; it can be mesmerizing and captivating, but also possess a raw and almost threatening aspect that demands respect.
In practice
This quote can be used in a creative writing workshop to inspire students about vivid imagery.
Coincidence obeys no laws and if it does we don't know what they are. Coincidence, if you'll permit me the simile, is like the manifestation of God at every moment on our planet. A senseless God making senseless gestures at his senseless creatures. In that hurricane, in that osseous implosion, we find communion.
I'd obviously never heard of the group, but my ignorance in literary matters is to blame for that (every book in the world is out there waiting to be read by me).
Every book in the world is out there waiting to be read by me.
Bright colours in the west, giant butterflies dancing as night crept like a cripple toward the east.
Being alone makes us stronger. Thatβs the honest truth. But itβs cold comfort, since even if I wanted company no one will come near me anymore.
Of all the islands he'd visited, two stood out. The island of the past, he said, where the only time was past time and the inhabitants were bored and more or less happy, but where the weight of illusion was so great that the island sank a little deeper into the river every day. And the island of the future, where the only time was the future, and the inhabitants were planners and strivers, such strivers, said Ulises, that they were likely to end up devouring one another.
She danced the dance of flames and fire, _x000D_ _x000D_ and the dance of swords and spears; _x000D_ _x000D_ she danced the dance of stars and the dance of space, _x000D_ _x000D_ and then she danced the dance of flowers in the wind.
To make great movies, there is an element of risk. You have to say, 'Well, I am going to make this film, and it is not really a sure thing.'
All the soarings of my mind begin in my blood.
Au revoir, jewelled alligators and white hotels, hallucinatory forests, farewell.
What pleases the public is lively and vivid delineation which makes no demands on the intellect; but passionate and absolutist youth can only be enthralled by a problem.
If you ask me, I alternate between truly bizarre, what you would call 'Hollywood' movies and truly bizarre, what you would call 'arthouse' movies.
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