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symbolism

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She wrote, in the last pages, of feeling all the evil of the neighborhood around her. Rather, she wrote obscurely, good and evil are mixed together and reinforce each other in turn. Marcello, if you thought about it, was really a good arrangement, but the good tasted of the bad and the bad tasted of the good, it was a mixture that took your breath away. A few evenings earlier, something had happened that had really scared her. Marcello had left, the television was off, the house was empty, Rino was out, her parents were going to bed. She was alone in the kitchen washing the dishes and was tired, really without energy, when there was an explosion. She had turned suddenly and realized that the big copper pot had exploded. Like that, by itself. It was hanging on the nail where it normally hung, but in the middle there was a large hole and the rim was lifted and twisted and the pot itself was all deformed, as if it could no longer maintain its appearance as a pot. Her mother had hurried in in her nightgown and blamed her for dropping it and ruining it. But a copper pot, even if you drop it, doesn't break and doesn't become misshapen like that. "It's this sort of thing," Lila concluded, "that frightens me. More than Marcello, more than anyone. And I feel that I have to find a solution, otherwise, everything, one thing after another, will break, everything, everything.

EF
Elena Ferrante

My Brilliant Friend

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When I felt I was dying, these past few days, things were no longer anthropomorphic. The telephone, which looks like a sort of upturned black snake, was merely a telephone. Every thing was just a thing. The couch, which looked like a big square face drawn by Rubens, with buttons on the cover like wicked little eyes, was just a couch, rather shabby but nothing more. At such a time things don__ matter to you; you don__ bathe everything in your presence, like an amoeba. Things become innocent because you draw away from them; experience becomes virginal, as it was for the first man when he saw the valleys and the plains. You feel you are set in a tidy world: that is a door and it behaves like a door, that is white and behaves like white. What heaven: the symbolism of meanings loses all meaning. You see objects which are comforting because they are quite free. But suddenly you are flung into a new form of suffering because, when you come to miss the meaning of, say, a stool, reality suddenly becomes terrifying. Everything becomes monstrous, unattainable.

FF
Federico Fellini

Fellini On Fellini

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Why do writers use symbolism?_ Okay, so let__ say you have a headache and you wanna tell someone about it and you say, __ have a headache!_ and other people are like, __eah, whatever. Everybody gets headaches._ But your headache is not a regular headache, it__ a serious headache, so you say, __y brain is on fire!_ to try to help these people understand that this is a headache that needs attention! That__ a metaphor, right? And you use it so that you can be understood. Now let__ say you want to take those same imagistic principles but apply them to a much more complex idea than having a headache, like, for instance, the yearning that one feels for one__ dreams. And you can see the dream but you can__ cross the bay to get to the green light that embodies your dream. And you want to talk about how socio-economic class in America is a barrier _ a bay-like barrier, some would say _ that stands between you and the green light and makes that gap unbridgeable. Now, you can just talk about that stuff directly, but when you talk about it symbolically, it becomes more powerful, because instead of being abstract it becomes kind of observable_. So I think that__ why.

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Last night, Good Friday night, at the bottom of the escalator at King__ X tube, a weasel-faced man in uniform was sweeping up rubbish with a wide broom, drink cartons, cigarette packets with all the dust and filthy scraps of the day which he pushed towards an elegant long black glove that was lying there. I expected him to pick it up as I would have _ I thought of picking it up, but was too late. He smothered it in a wide sweep. It seemed to me extraordinary and shocking that he had no feeling for it. Several images went through my mind, a symbolic hand, a dead blackbird, an ornamental bookmark fallen from a lectern Bible _ any once-precious relic being tumbled in the dirt. As I went up the escalator I remembered the Tatterdemallion whom I haven__ seen for months and thought of his body, if he were to die in the tube, being tumbled about with the rest of the thrown-away rubbish._ David Thomson, In Camden Town