Memory's Images, Once They Are Fixed In

Each Sort Of Cheese Reveals A Pasture Of A Different Green, Under A Different Sky.

The Close-up Has No Equivalent In A Narrative Fashioned Of Words. Literature Is Totally Lacking In Any Working Method To Enable It To Isolate A Single Vastly Enlarged Detail In Which One Face Comes Forward To Underline A State Of Mind Or Stress The Importance Of A Single Detail In Comparison With The Rest. As A Narrative Device, The Ability To Vary The Distance Between The Camera And The Object May Be A Small Thing Indeed, But It Makes For A Notable Difference Between Cinema And Oral Or Written Narrative, In Which The Distance Between Language And Image Is Always The Same.

...and Every Wednesday The Perfumed Young Lady Slips Me A Hundred-crown Note To Leave Her Alone With The Convict. And By Thursday The Hundred Crowns Are Already Gone In So Much Beer. And When The Visiting Hour Is Over, The Young Lady Comes Out With The Stink Of Jail In Her Elegant Clothes; And The Prisoner Goes Back To His Cell With The Lady's Perfume In His Jailbird's Suit. And I'm Left With The Smell Of Beer. Life Is Nothing But Trading Smells.

The Book I'm Looking For,' Says The Blurred Figure, Who Holds Out A Volume Similar To Yours, 'is The One That Gives The Sense Of The World After The End Of The World, The Sense That The World Is The End Of Everything That There Is In The World, That The Only Thing There Is In The World Is The End Of The World.

The Inferno Of The Living Is Not Something That Will Be; If There Is One, It Is What Is Already Here, The Inferno Where We Live Every Day, That We Form By Being Together. There Are Two Ways To Escape Suffering It. The First Is Easy For Many: Accept The Inferno And Become Such A Part Of It That You Can No Longer See It. The Second Is Risky And Demands Constant Vigilance And Apprehension: Seek And Learn To Recognize Who And What, In The Midst Of Inferno, Are Not Inferno, Then Make Them Endure, Give Them Space.